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Published on Sep 23, 2006
see also: http://www.eyemachine.com/project_e.htm Since first of January 2002 I take several pictures of my face per day. Every time with stretched left arm, eyes fixed on the camera lens. I try to look into the camera without emotional expression on my face. I pick one selfportrait per day. The eyes (more precisely: the iris) get fixed onto the exact same spot within the picture frame. Then the daily selfportraits get animated chronologically into the movie with fine blending-phases. The constantly same position of the iris within the movie «attaches» the film, it builds up a certain stability for the film. A time-lapse movie of my face is generated in which I grow older in different speed-intervalls (for example within 30 seconds I grow older one year/within 40 minutes I grow older one year). This is a long term project. I started it in my 30th year, the duration of this project is open -- theoretically «project» ends with my death. see also: http://www.eyemachine.com/project/200... Concept eyemachine project/selfportrait-averages
The production process of «project» lets me generate another -- rather absurd -- artwork on the topic of time: the «selfportrait-average» picture series. In this series I calculate the visual monthly -- or yearly -- average of the selfportraits used in «project». As an example: the daily selfportraits of the month January 2002 are blended over each other as layers with 3% transparency each (100% divided by the 31 days of January 2002 is approximately 3%: for every day an equivalent «blending-strength»). Hence a mathematically calculated visual average ot the way I looked in January 2002 is computed. Because the Iris has already been centered in the production process of «project» the area around the eyes is «in focus» -- while the areas further away from the eyes turn unsharp. The iridescent gray in the background is the result of chaos in colour-mixture of all the different backgrounds from every single day. Through statistical computation of pixelinformation the principle of similarity/affinity is realized in the utmost possible way: the pictures belong to a group of absolute similitude -- and still every single month of my selfportrait-averages is distinguishably different and discernable from the other in expression and structure. The image -- technically originating from photography -- is transformed into a stunning stilistical resemblance to dutch portrait-painting of the 17th-century -- simply by this process of crossfading.