While researching into Sara Cwynar’s glitch art, I was intrigued to know how she created her work; as the result she gets in her glitch art is different to any I’ve seen, such as in my own experimentations, Sabato Visconti and Rosa Menkman’s work, there are only straight lines and harsh colours. Whereas, in Cwynar’s pieces, the colours are lighter, and almost pastel, and some of the lines in the work seem more warped than glitched. The images themselves also seem very dated, as most of them are in black and white, the clothing of the subjects seem older and the images are lower quality.
After looking into Sara’s method to creating her glitch art, I found that her art comes from prints, which means her work is analogue photography compared to digital, which I’ve only ever looked at previously. Sara’s work comes from scratches and chemical residue on the negatives, which creates the interesting colours and warped shape that I was so intrigued by.
I think that this work is really interesting, but also quite creepy like Menkman’s work, and almost aesthetically pleasing, and makes it that bit more interesting to me that these were created by visually corrupted film negatives, which is something I am interested in doing. I have an old Olympus 35mm film camera I’ve been waiting to use, but I haven’t got around to buying any film for it and testing it out yet. Although this is definitely a more expensive and time consuming option than creating images digitally using my DSLR and data bending them, this is something I am 100% willing to try when I go back to college, as it will also teach me about how to get used to analogue photography and using film, which is something I’ve wanted to do since I started college, so I think this is definitely an option.
Maddie Platt Photography 