Zac Freeman art

Process and the Medium of Light

All my artwork is created entirely by exposing various sources of light to film. Then, working from original transparencies, a print is made. During the process of creating the artwork my surroundings are completely dark and the light sources don’t leave behind any physical marks in the space, there is no imprint to reference what’s been made. This process forces me to visualize the entire art piece from start to finish, retaining every part of the images past and future in my mind simultaneously.     [ continued below ]
  

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[ continued ]

To streak light on film is not a camera technique I claim to invent, but I have exclusively developed a way of making art based on this technique that is completely my own. I have been refining this process for many years, constantly experimenting with variables and conditions. This has allowed me to breakdown some of the limitations inherent to the medium and to create artwork with light without compromise.

By originating artwork this way, I can approach the production of an image more correctly and truer to the art. I get to think and act on the physicality of a 3-dimensional image/object and its surroundings because I’m working in a volume of space and not confined to a surface. At the same time, I also have the flexibility to work on thin XY planes within the space, a feature I often utilize to produce incorrect depth in an image, which allows me to explore spatial relationships of elements.

The application of this art is similar to writing oriental characters, where there is a correct starting point and a correct order of creation. Just as we can’t go backwards in time, marks of light cannot be erased from the image. Instead, each mark builds on the previous mark of light, justifying it and giving structure for the next stroke. Everything is recorded forward in a continuous fashion.

With Respect to My Art

Through my art I explore the fragmentation of images and objects, as well as more abstract subjects like time, and then I contemplate on the relationships between their parts and surrounding space. During my approach, I apply different methodology to breaking down items of study, whether these procedures are sensible or completely arbitrary, have one dominant theme or include several applications.

When working, I like to consider the effect of space between the separated elements and then visually pursue solutions, not postulated scientifically, but created by digesting the known and propagating an artistic potential. I consider the point at which a fractured element remains acceptable to reason or when it becomes compromised to its intent and how void spaces or missing information might be interpreted.

The images provide a platform for many different experiences. Their structure is intended to be both objective and subjective without either being necessary. I do suggest subject matter in most images, which provide a literal understanding of the artwork, but there are equally as many nonrepresentational features in each image that also provide a logical comprehension of the art.

When producing the artwork I regard the image, extract it from time and place, and redistribute it, not as a picture, but as an art object. The artwork is intended to be more like an actual entity and less like a depiction or account of something. This is why I don’t print editions, as each piece of art is unique to its existence.

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