In the most eye - catching series, he skimmed information from uncredited images in the Economist, such as that of copper production factory floor in «Untitled» (2014), and reprocessed it digitally and photographically, preserving and enlarging
the raster pattern of the half - tone «original,» incidentally activating visual references to Sigmar Polke (1941 - 2010) and Roy Lichtenstein (1923 - 1997).
Scanning - transmission electron microscopes irradiate the sample in a sequential
raster pattern like scanning electron microscopes, but still form images from those electrons that are transmitted through the specimen (i.e., the electron detector is on the far side of the specimen, unlike the case for scanning electron microscopes).
You could be looking down on Earth from a satellite or pressing your face against the television screen watching news of the latest demonstration against police violence, your eyes up close to
the raster patterns that, from a distance, coalesce into media images.
Not exact matches
Hypnotic
patterns, resembling the
raster of windshield defrosters or television screens, add further distraction.
The work is covered in shimmering pigment, which changes with light and includes both a
pattern of
raster dots, and scattered hand - painted spots — a motif which has defined Sigmar Polke's work.