[Greenpoint, Brooklyn]
[DOOR SLAMS]
[LIGHT SWITCH FLICKS ON]
[SOUND OF COMPUTER STARTING UP]
[New York Close Up]
["Lucas Blalock's Digital Toolkit"]
This is "The Smoker".
[SOUND OF CAMERA SHUTTER CLICKING]
That picture started off by me wanting to make a picture of a smoker.
It sort of relates to this Magritte painting from the late Forties.
I was going to have an exhibition in Brussels
and Magritte is from Brussels.
It seemed like a suitable environment for this, sort of, game.
[SOUND OF CAMERA SHUTTER CLICKING]
[Lucas Blalock, Artist]
I started using Photoshop when I was still in undergrad.
It was just, like, a procedural tool.
Like, it was a replacement for the dark room.
It felt like special effects for a long time.
It felt just like something after the fact—
that it was, sort of, making up ground for a picture.
It took me a long time to get to a place
where I understood how I might be able to use it.
Around the time I read Bertolt Brecht's book on theater—
he was talking about bringing the labor
that happened offstage—in a theater production—onto the stage.
I started to think about the kinds of labor I was hiding.
There are all these ways to, sort of, hide your labor in Photoshop.
And I'd been really interested in, sort of, undermining those things.
There are a lot of things the computer will do for you
that don't need you,
and those have never been tools that I've been particularly attracted to.
Like, I'm attracted to the ones that are sort of the dumbest tools in Photoshop.
And I tend to use them in the most blunt way.
[1. Eraser Tool]
One of the rules of photography seems to be that
the photograph needs to be homogeneous--
it needs to be one thing.
Usually that's one view.
I was really interested in how I add levels of labor to photographs
without losing that sense of photographicness.
And the cutting through was part of that.
[2. Masking]
In commercial practice, masking is a way to
select the sky in a photograph and make it a darker blue,
or to select someone's eyes in a photograph and sort of brighten them up.
And for me, masking has sort of opened up possibilities of drawing out relationships.
Like, when I saw this bag, it looked like a human torso to me,
and when I took its picture,
that's sort of what was on my mind.
When I got the negative back, I started to look for opportunities
to sort of enhance that relationship.
One of the tools that I've used a lot is the clone stamp--
[3. Clone Stamp]
you would use to take out imperfections,
or you would use to remove a lamp post from a street.
I think something with the clone stamp particularly that I'm really excited about:
it's an activity that can be either additive or subtractive.
So you could cover something up--
say, take an object out of the picture--
but if you did it poorly,
it would leave this, kind of, interference pattern in the background.
There's been an anxiety about, sort of, you know,
[4. Brush Tool]
"Why would you make another picture now?"
"What's the point?"
"There are pictures of everything already."
I really had started to think about photography as an activity of drawing--
as a way to try to understand the world through making a picture of it.
And this seems to be a continuation of the historic activity of drawing--
like, drawing with a pencil.
When I started, what I was doing
was sort of making a burlesque of commercial practice.
Because, really, these were the only people who were using
digital effects in their pictures.
And so, I use all of the tools that I use
in a really similar way.
[SOUND OF CAMERA SHUTTER CLICKING]
They're all, really, this shovel, you know?
They're this extension of the finger.
[SOUND OF CAMERA SHUTTER CLICKING]
Being sort of stuck into space,
it's an entry into a space that I couldn't enter any other way
but through Photoshop.
Humor, for me, has been an important thing in my work
because it's a way to, sort of, bring people into the room.
It's literally disarming.
Like, Buster Keaton,
or like, early cinema--
it's people who were incredibly effective
at drawing our understanding of the cinema.
Buster Keaton's gags give us a way to enter movies.
Humor for me is about relationships.
It's about an invitation to relate to the objects in the pictures,
and I think that more and more, as time has gone on,
it's been also about relating to this sort of
ambiguousness of photographing digital space
and the way that it's now being construed.
I believe in art because art makes new spaces.
Aesthetics is a way of, sort of, proto thinking--
of thinking before you can think these new thoughts.
Even in the goofiest, most ridiculous way,
aesthetics is a way of, sort of, unpacking possibility.