Mäntän kuvataideviikot - Mänttä Art Festival

Jan Kenneth Weckman: Tabletop Shortline – We all like to see our railroad go somewhere.
A graphic installation of 108 pigment prints on acid free paper, appr 380 x 600 cm

with a moving image projection, 2010, installed at Mänttä Art Festival,
Mänttä-Vilppula Finland June 12 -August 22. 2010.


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Teokset ja näyttelyt

Etusivulle / Mainpage

The tabletop Shortline - We all like to see our railroad go somewhere, booklet, 2010
The tabletop Shortline - We all like to see our railroad go somewhere, Installation, 2010

I use traditional means to make pictures, drawing, painting, mixed media on paper and canvas. All this is combined in digital work, adding photography as well, and produce a mixed set of graphic material on the digital drawing tablet. Competences learned in fine art will be realized in graphic art (Pigment inks on acid free paper). I separate myself from the photographic art by talking only about depiction. The photographs make a starting point for further work on the pen tablet. The result will present something else than just those elements that gave me the material. The work process demands, that I must be active in many different ways. The graphic format is only one channel to finalize the outcome. Thinking in terms of editions, like we think about books or research texts, their temporary, unfinished character will be obvious. Its all part of a larger discussion? Initially with one self. Further investigation will perhaps result in a new version, a new work within a different edition. This prepares for the realization, that auto-communication does take place on the conditions of a community, an institution, a context. The materials and means are as much a part of the context as the motives searched for and significations designed.

Digital drawing makes it possible to combine work processes (or their digital imitations) that in older media reside in separate workflows and materials. The changes that digital work brings along are both visual, that is, virtual, and on the other hand, concretely practical. The practice shows up as a completely different studio setup. The digital image differs from the ?analogical? image manipulation in several ways. The input for the production and the output of, that is, the printing of the image is separated from each other, identical  (or near-identical) copying is possible (considering the changes of printing inks, software, hardware or printing platforms, paper texture, color an such material parameters), and as are, in principle, the endless combinatory possibilities of the image elements. 

What about the themes, then? There are a number of thematic interests, almost obsessions, as it were, connected to decisions taken in the work pertaining to story and reference. Without disclosing mine yet, feel free to dwell on some of your own, while looking at the images of my installation: The Tabletop Shortline - We all like to see our railroad go somewhere ( 108 A3 pigment prints on acid free paper, 2010). A more detailed thematic presentation in English is under construction.
The Finnish version is presented shortly.