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Through a series of lenticular prints, Long focuses on the liquidity of the medium both present in the work as subject matter and as part of how the artwork is structured and produced. To make the works, he generated a waterscape using 3D software (ocean and river geometry modelled using a combination of complex mathematical models and direct observation). These rendered animations are then set into motion using the particular properties of lenticular technology, emphasized by undulating waves of colour bands. He then lit the scene using environment lighting from actual photographs he took of bodies of water recently visited—in this case, off the coast of Fogo Island and the Delaware River in upstate New York. From this source imagery, Long produces a series of "copies." However, as each lens and its inconsistent densities are unique, the lens itself produces an "optical fingerprint." So, though copies may abound, they maintain a uniqueness that complicates the unlocatable original…
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Through a series of lenticular prints, Long focuses on the liquidity of the medium both present in the work as subject matter and as part of how the artwork is structured and produced. To make the works, he generated a waterscape using 3D software (ocean and river geometry modelled using a combination of complex mathematical models and direct observation). These rendered animations are then set into motion using the particular properties of lenticular technology, emphasized by undulating waves of colour bands. He then lit the scene using environment lighting from actual photographs he took of bodies of water recently visited—in this case, off the coast of Fogo Island and the Delaware River in upstate New York. From this source imagery, Long produces a series of "copies." However, as each lens and its inconsistent densities are unique, the lens itself produces an "optical fingerprint." So, though copies may abound, they maintain a uniqueness that complicates the unlocatable original…
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