Art Project: “Too Dear Discarded-The Beginning Series”/ Series

4

DangerMuseum_Woodcut_img003-(Framing)

Simulation display:

“Too Dear Discarded: The Beginning Series/ DangerMuseum_Woodcut_img003”

Anang Saptoto, Photography print on fine art paper, wood frame, 40 x 60 cm (image), 50 x 70 cm (frame), 1/5 edition + 1 AP, 2017

Series of unused negative digitized film from “Koh Nguang How” archives (Artist Village, Singapore)

In my final work series at the end of 2017 this time, I had the opportunity to work on a project of digitizing documents and archives owned by one artist from Artist Village, Singapore named Koh Nguang How. Over 1000 negatives I successfully digitized (target up to 4000 frames). The negative films I encountered ranged from the 1980s to the 2000s, on the artistic activities of both art changes, music, performances, and landscaping in the areas of Singapore. The event was recorded in the show room (indoor) as well as in the public (outdoor). The activities are very diverse, ranging from the work of local artists to international. There are also photos recorded abroad such as in Japan, Korea, etc.
On many occasions I have been discussing which frames of negatives film are necessary or not to be scanned. Although in practice i choose to scan all, sort it and save 2 motifs that interest for me.

1. Negative film used / first photo taken in 1 roll. Usually the frame managed to record the object in the photo. But in most cases I’ve encountered, the average half-field in the frame is burned / over exposure. In fact, maybe a lot of special moments taken in the first roll. All these frames been collected in 2 folders, black+ white and color. whether it’s important or not, it’s too valuable if the frames are thrown away just because the results of the recording is not perfect.

2. I also collected the scans from the negative in the beginning of the film roll. Almost all of them managed to record/burn. However, because it might not pass through the lens or burnt during the installation of negative film to the camera, it generate areas or image that are very abstract. Sometimes, I find that there are only areas that are not meaningful, or biased from the lights which enter the camera. This create an impression and an artistic feeling for me, by looking at these abstract areas from the recording of light caught or trapped in a negative photographic film. I also picked and collected these frames in two folders, black & white, and color.

Not to mention that both of these things I noted various things related to the title of negative film from the recorded events, complete with technical data material such as type of film, year, ISO, where did it purchase, recorded, and the first processed film washing. Regardless of whether it its important or not, but I choose to keep it and maybe at other times I can show the result of this photography levy

(Text: Anang Saptoto, Editor: Nonayoani Sarah)

 

Exhibition:
Never been exhibited

A part of series Too Dear Discarded: The Beginning Series 1-18″

1. Bird Nest, Ray 1, img001
Kodak Film Colour, 400 ISO, Singapore, 1995
Photography, Negative Film Colour Scan, 2017

2. Bird Nest, Ray 1, img002
Kodak Film Colour, 400 ISO, Singapore, 1995
Photography, Negative Film Colour Scan, 2017

3. Bird Nest, Tapioca, img001
Fuji Film Colour, 400 ISO, Singapore, 1995
Photography, Negative Film Colour Scan, 2017

4. Danger Museum, Woodcut, img003
Konica Film Colour, 400 ISO, Singapore 1999
Photography, Negative Film Colour Scan, 2017

5. Danger Museum, Woodcut, img004
Konica Film Colour, 400 ISO, Singapore 1999
Photography, Negative Film Colour Scan, 2017

6. Hong Bee 4, img002
Fuji Film Colour, 400 ISO, Singapore, 1992
Photography, Negative Film Colour Scan, 2017

7. Hong Bee, Amanda 1, img002
Fuji Film Colour, 400 ISO, Singapore, 1992
Photography, Negative Film Colour Scan, 2017

8. Hong Bee, Amanda 1, img003
Fuji Film Colour, 400 ISO, Singapore, 1992
Photography, Negative Film Colour Scan, 2017

9. Hong Bee, BW, 7, img001
Kodak Film BW, 400 ISO, Singapore 1992
Photography, Negative Film BW Scan, 2017

10. Hong Bee, Japan Artist 3, img001
Fuji Film Colour, 400 ISO, Singapore, 1992
Photography, Negative Film Colour Scan, 2017

11. Hong Bee, Japan Artist 4, img001
Fuji Film Colour, 400 ISO, Singapore, 1992
Photography, Negative Film Colour Scan, 2017

12. Hong Bee, Japan Artist 5, img001
Fuji Film Colour, 400 ISO, Singapore, 1992
Photography, Negative Film Colour Scan, 2017

13. Hong Bee, Women Azman, img001
Konika Film Colour, 400 ISO, Singapore, 1992
Photography, Negative Film Colour Scan, 2017

14. Hong Bee, Women Azman, img002
Konika Film Colour, 400 ISO, Singapore, 1992
Photography, Negative Film Colour Scan, 2017

15. Hong Bee, Zai Azman Koh, img001
Fuji Film Colour, 400 ISO, Singapore, 1992
Photography, Negative Film Colour Scan, 2017

16. Hong Bee, Demolition 1, img001
Fuji Film Colour, 400 ISO, Singapore, 1993
Photography, Negative Film Colour Scan, 2017

17. Hong Bee, Demolition 1, img002
Fuji Film Colour, 400 ISO, Singapore, 1993
Photography, Negative Film Colour Scan, 2017

18. Rhino 3, img002
Kodak Film BW, 400 ISO, Singapore 1989
Photography, Negative Film BW Scan, 2017

19. Rhino 6, img003
Kodak Film BW, 400 ISO, Singapore 1989
Photography, Negative Film BW Scan, 2017

 

1

Bird-Nest_Ray_1_img001

2

Bird-Nest_Ray_1_img002

3

Bird-Nest_Tapioca_img001

4

DangerMuseum_Woodcut_img003

5

DangerMuseum_Woodcut_img004

6

Hong-Bee_4_img002

7

Hong-Bee_Amanda_1_img002

8

Hong-Bee_Amanda_1_img003

9

Hong-Bee_BW_7_img001

10

Hong-Bee_Jap_3_img001

11

Hong-Bee_Jap_4_img001

12

Hong-Bee_Jap_5_img001

13

Hong-Bee_Women-Azman_img001

14

Hong-Bee_Women-Azman_img002

15

Hong-Bee_Zai-Azm-Koh_img001

16

HongBee_Demolition_1_img001

17

HongBee_Demolition_1_img002

18

Rhino_3_img002

19

Rhino_6_img003

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