The underlying process starts with 35mm negatives that are scanned into a digital format that results in the initial loss of visual information (data) and physical information (texture).
Furthermore, the diptych images on the right are highlighted in areas of clipped shadows. These areas are considered to be to an area too “dark”-an area without information. The speckled areas of electric blue create distance from the reality of the actual events. It becomes a decoy of its original purpose by calling attention to the lost information in the image. By contrast, the images on the left show the event as it was seen. The image is digitally overlaid with a cast of blue to create more cohesiveness.
I am interested in visual perception so my work often deals with time and displacement within intimate spaces. How I identify with this particular event and the subsequent reality becomes more skewed as time passes. I attempt to make this impression inherent within the image.
Q&A with Ei Toshinari
A frame from the 24.
Who left the biggest impression on you?
Tell us a little about yourself
I live in Los Angeles but I do not have a car.
Ei Toshinari (www.eitoshinari.com) born 1990, Tokyo, Japan.
Currently Living in Los Angeles
B.A. – University of California, San Diego – Visual Arts.