Sync, work in progress, 2019 Holiday photos in a rural setting, synchronously photographed from eye level and from the sky. The images, double projections, indicate the presence of the "eye in the sky". Superimposition, the overlapping of photographic images, was a frequently used "special effect" in cinema. It was used to visualize the supernatural, to show a spirit, dream or hallucinatory state of mind. The superimposition technique was used for the first time in the early 20th century. Based on the credibility of the photographic image, this technique was able to make the viewer believe in the fantastic that was portrayed. Semi-translucent shapes moved through the same space as the "normal" actors. "Spirits" detached themselves from bodies to live a life on their own. The "suspension of disbelief" caused the fantastic images that were shown - at least for the duration of the film – to be taken for granted. In the Sync series I respond to this "spirit notion" but at the same time show a new reality.
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Martine Stig Martine Stig (b. 1972) is an artist based in Amsterdam. Point of departure in her work is the photographic image; the voyeuristic act: photography (verb) and the autonomic product: photo (noun). Whilst using the medium (and moving away from it) she researches its role in the perception of reality.
Technological progress extends our senses and turns our x-y-z world into a 360˚ space. Since we can virtually look from every high vantage point -with the help of drones and satellites- linear perspective and monocular rendition start to lose their universal self-evidence.
