green morphing I

For these three images I have intentionally chosen a romantic, almost trashy name.

Not only because I would like to remind people of the clarity of former artists.

But also because I want to pick up a theme very important to me:
The process of viewing, because this is what makes art.
In today’s online flood of images, many images are lost, hardly viewed or not viewed at all.
Because there are so many other images they get lost in the crowd.
At the same time, there is little time to really contemplate the images one is looking at. With time and with leisure. And to think about them while doing so.
Most people scroll through their feeds and rarely, if ever, stop.
And what happens when we stop scrolling through our feed because an image has caught our attention ?
We open the post and read whether and what the author writes about the image.
We let ourselves and what we think and feel about the image be driven by the metadata (the title, the description and the hashtags).

Even more, the images that are shown to us in our feeds are selected by an algorithm based on this very metadata.
We are not shown what really interests us and what would actually affect us.

Instead, we are shown the images that an algorithm selects based on the metadata of past images and those of current images.

And this algorithm is only guided by the metadata – because it is not able to capture the true content of an image.
If an image would show a cat and the metadata belonging to the image would only speak of a camel, this cat image would be shown to camel friends, although it, in reality, has nothing to do with a camel. Whereas of course the philosophical question must be asked here, what would be the reality here.

We are guided and controlled by metadata and algorithms in what we are shown and in what we are thinking and feeling when we look at the feed images.

These dark images of bare trees by a river, which to me express what many people felt during the pandemic, is probably shown next to cheerful winter images by the algorithm through their titles and their tags.
Yet these images, in reality, say something quite different….

printed on Giclée Hahnemühle German Etching

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Epson Semi Gloss

A great all-round paper, chosen for its photographic aesthetics, vibrant colour reproduction, high contrast and robust feel. Its semi gloss, flat surface lends the artwork a photographic feel, combined with the subtle painterly feel of a Giclée fine art print. Our most lightweight paper of all Giclées. The surface is resin coated making it our strongest paper.

Hahnemühle German Etching

This heavyweight paper has a slightly warm base tone and a strong mottled texture. It creates a print with strong colours and deep blacks that feel rich and high in contrast. This is due to the texture of the paper enabling it to hold more ink and capture the light. The German Etching is one of our heavier weight Giclée art printing papers. With its weight and strong texture this paper gives an artwork a handmade crafted feel. Hahnemüle German Etching is a robust Giclée paper, meaning it doesn’t tend to fray as much at the edges.

Hahnemühle Photorag

The super matt finish of Hahnemüle Photorag makes this paper one of our most popular papers amongst artists, illustrators & photographers alike. The paper gives muted blacks with even colour reproduction, and excellent detail. The surface has minimal texture with a chalky smooth cotton feel which creates smooth colour gradients. It has a delicate surface, so we recommend extra care when handling. Photorag is suitable for mounting but its cotton texture means edges can fray if not carefully handled.

Hahnemühle Pearl

Hahnemüle Pearl has a smooth orange peel texture and a bright neutral white base, it creates really natural black and white images and offers vibrant colour reproduction and great detail too. The paper is resin coated with a fibrous feel. The satin finish of the resin coating gives depth to the image which combined with the texture and vibrant colour reproduction give the image the feel of an oil painting. This is one of the most suitable of the Giclée Art Paper range for mounting

Hahnemühle Bamboo

Bamboo is the world’s first digital fine art inkjet paper made from bamboo fibres. Bamboo represents naturalness and resource-saving paper production. Particularly suitable for warm-toned colour and monochrome prints.Hahnemühle Bamboo is made from 90% Bamboo fibres and 10% cotton combining photography with environmental friendliness. This natural warm-toned, smooth surfaced and optical brightening agent free genuine art paper offers maximum ageing resistance. It guarantees an extremely large colour gamut and high colour density.

Canson Baryta

A pure white Baryta base paper with excellent black density, contrast and reproduction of detail. Great for high contrast images, as well as fluorescent and vivid colours. The Baryta base creates whiter whites and deeper blacks whilst the silky smooth reflective coating enhances the detail and definition of the images. We recommend care when handling the print as is a sensitive paper and we advise that you add a border to the image if you would like to have it mounted.

Canson Aquarelle

Canson Aquarelle Rag is another highly textured Giclée art paper in our range, offering strong reproduction of blacks and good colour intensity with a texture that holds the ink and catches the light. This Giclée paper has a white uncoated paper base, which together with the texture gives the artwork a lovely fine art reproduction feel. The texture is even more pronounced than Hahnemühle German Etching so if you are really looking for the craft feel, this is a great option. Like the German Etching, the Canson Aquarelle Rag is a robust paper that handles mounting well.

C Type Kodak Metallic

Kodak Metallic has a rich metallic base. The colours have a reflective, metallic and 3-dimensional feel. High mid-tones & highlights add luminosity & iridescence.

C Type Fuji Flex

Fuji Flex, a.k.a. super-gloss, has a plastic feel to the paper with a warm base colour and an ultra-high gloss finish, giving luxurious rich colours. Very high – deep blacks & high visual contrast.

C Type Fuji Gloss

Professional colour paper from the Fuji Crystal archive range with a gloss finish, which accentuates the colour to give a punchy, rich feel. Gives our image more contrast, glossiness and a punchier colour feel when compared to Fuji Matt, although it maintains tonal properties and accurate reproduction.

C Type Fuji Matt

Fuji Crystal archive paper with a semi-matt finish. The paper is coated with a slightly stippled texture giving a very natural photographic finish with subtle colour. Great versatile paper, very natural and works well with all photographic images. Maintains colours in a very natural way, giving a detailed, 3-dimensional beautiful photographic reproduction.

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Data protection
We, Gratus Art OUe (Registered business address: Estonia), process personal data for the operation of this website only to the extent technically necessary. All details in our privacy policy.