Jason Engelund

Now Canyon Road (Abstract photography)

2020

Feel, Canyon Road (Abstract photography) Photography and paint on wood - Unframed. Artwork exclusive to IdeelArt. Artworks are of the highest archival s...

Huis Clos Exit Here (Abstract photography) Photography and paint on wood - Unframed. Artwork exclusive to IdeelArt. Artworks are of the highest archival standards. Wood supports a...

Real (Abstract photography) Photography and paint on wood - Unframed. Artwork exclusive to IdeelArt. Artworks are of the highest archival standards. Wood supports are sealed with ...

Feel, Canyon Road (Abstract photography) Photography and paint on wood - Unframed. Artwork exclusive to IdeelArt. Artworks are of the highest archival standards. Wood supports are...

Anyone who has stopped to engage with an oil spill will be familiar with the rainbow colours and the myriad of shapes that appear to the keen observer. The iridescence and depth is a...

It's really majestic piece. It's grand in size and its got a very beautiful and impressive contrast in shades. This piece is something very special... two Luminograms in one work of...

JUNE MELODY, 2017 Printed on museum glass, hand finished with White Gold and Silver leaf 61 x 61 cm (including frame), 45 x 45 cm (glass size) Edition of 5 (Each individually hand gi...

ATO>MIC #3, 2020 Unique Gelatin Silver Print/ Luminogram and Photogram technique, Printed on tea infused fibre based paper, Custom Framed: museum mount-board with antireflective UV protective art glass in dark brown lacquered hardwood frame, /hand made in UK/ 23 x 18 cm (image print) 40.5 x 36 cm (Framed) Unique Series: ATO>MIC Signed and dated in pencil on verso Provided with the Certificate of Authenticity “The ATO>MIC work started as an attempt to replicate the idea behind still life painting - where you are trying to reproduce the image of solid looking things, things that could be on a shelf. So, I wanted to try doing that with just using light instead of paints - however I soon started to see the similarities with Harold Edgerton’s famous atomic explosion photos and how the scale of my work could be switched between small items on a shelf to enormous atomic explosions. That is the reason behind the strange title ATO>MIC - where the “>” is a kind of link between larger and smaller scales, between the two influencing ideas.” – Mike G Jackson The images (from the ATO>MIC series) may be reminiscent of the first milliseconds of atomic bomb explosions captured by Harold Edgerton's Rapatronic camera in the early 1950s but also visualise the thought of Maholy-Nagy’s bold visions in the Bauhaus’s movement toward the idea of the Gesamtkunstwerk, or “total work of art.” The 3D concepts that were first expanded in the same art movement by El Lissitzky a hundred years ago, are also explored here by Jackson’s drowned thin line within the third of the image. In his vision, the line reflects a shelf with the object on top, by adding the weight to it, the gravity pushing them down. Or maybe the thin line is just the horizon, where the enormous atomic blast took place…? Beyond these flat forms of two dimensional ‘lumino-graphic’ works on paper, the purest form of photography (‘light drawing’) lays a visible path to three-dimensional imaginary world, realised in precise composition, rhythm and warm earthy tones of these works. It’s up to the viewer to decide what they prefer to see and take with them. As Wassily Kandinsky once said; “Imagination is what allows your mind to discover.” About the Artist: Michael G Jackson...