This area of research focuses on the use of video projections in the context of fine art. Emphasis is placed on creating a unique video installation work that incorporates assemblage and appropriation as a means to develop multiple complex geometrical surfaces for video projection. The purpose of this research is to document a working process within a pre-defined set of guidelines that is influenced from my past work and the study of other artist?s prior work. Research includes the demonstration of the entire working process to create this original work and recommendations for future artists who wish to work in this medium.

There currently exist several techniques for selecting and combining images from a digital image library into a single image so that the result meets certain prespecified visual criteria. Image mosaic methods, first explored by Connors and Trivedi[18], arrange library images according to some tiling arrangement, often a regular grid, so that the combination of images, when viewed as a whole, resembles some input target image. Other techniques, such as Autocollage of Rother et al.[78], seek only to combine images in an interesting and visually pleasing manner, according to certain composition principles, without attempting to approximate any target image. Each of these techniques provide a myriad of creative options for artists who wish to combine several levels of meaning into a single image or who wish to exploit the meaning and symbolism contained in each of a large set of images through an efficient and easy process. We first examine the most notable and successful of these methods, and summarize the advantages and limitations of each. We then formulate a set of goals for an image collage system that combines the advantages of these methods while addressing and mitigating the drawbacks. Particularly, we propose a system for creating photocollages that approximate a target image as an aggregation of smaller images, chosen from a large library, so that interesting visual correspondences between images are exploited. In this way, we allow users to create collages in which multiple layers of meaning are encoded, with meaningful visual links between each layer. In service of this goal, we ensure that the images used are as large as possible and are combined in such a way that boundaries between images are not immediately apparent, as in Autocollage. This has required us to apply a multiscale approach to searching and comparing images from a large database, which achieves both speed and accuracy. We also propose a new framework for color post-processing, and propose novel techniques for decomposing images according to object and texture information.

La vie en marche est un roman qui se présente sous forme d'un collage qui tire sa substance d'une « matière vécue » où alternent dialogues entre amis et photographies de traces marquées à même le « parchemin » des trottoirs. Les photographies témoignent d'une démarche solitaire toute habitée par le plaisir de la découverte alors que le texte met en scène -au propre comme au figuré -tant l'épreuve du deuil que l'attachement, la tendresse ou la solidarité. Le mode du dialogue est apparu le plus à même de rendre « la vie en marche » dans sa banalité et sa quotidienneté. Les voies du ressouvenir constituent, quant à elles, une tentative d'illustration d'une forme narrative où scriptural et pictural s'allieraient dans la perspective d'un dépassement du simple rapport de représentation pour tendre vers une complémentarité à travers le mouvement d'instauration caractéristique de l'acte d'énonciation. Trois ouvrages de Sophie Calle servent de fondement à cette démarche, soit Douleur exquise, Souvenir de Berlin-Est et L 'Hôtel, chacun répondant à une même lecture s'articulant autour des concepts de la trace, du passage et de la répétition, d'où découle un même retour du présent où le « ça a été » se constitue comme « c'est ». ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : Roman, Dialogue, Banalité, Collage, Photographie, Mémoire.

There currently exist several techniques for selecting and combining images from a digital image library into a single image so that the result meets certain prespecified visual criteria. Image mosaic methods, first explored by Connors and Trivedi[18], arrange library images according to some tiling arrangement, often a regular grid, so that the combination of images, when viewed as a whole, resembles some input target image. Other techniques, such as Autocollage of Rother et al.[78], seek only to combine images in an interesting and visually pleasing manner, according to certain composition principles, without attempting to approximate any target image. Each of these techniques provide a myriad of creative options for artists who wish to combine several levels of meaning into a single image or who wish to exploit the meaning and symbolism contained in each of a large set of images through an efficient and easy process. We first examine the most notable and successful of these methods, and summarize the advantages and limitations of each. We then formulate a set of goals for an image collage system that combines the advantages of these methods while addressing and mitigating the drawbacks. Particularly, we propose a system for creating photocollages that approximate a target image as an aggregation of smaller images, chosen from a large library, so that interesting visual correspondences between images are exploited. In this way, we allow users to create collages in which multiple layers of meaning are encoded, with meaningful visual links between each layer. In service of this goal, we ensure that the images used are as large as possible and are combined in such a way that boundaries between images are not immediately apparent, as in Autocollage. This has required us to apply a multiscale approach to searching and comparing images from a large database, which achieves both speed and accuracy. We also propose a new framework for color post-processing, and propose novel techniques for decomposing images according to object and texture information.

This area of research focuses on the use of video projections in the context of fine art. Emphasis is placed on creating a unique video installation work that incorporates assemblage and appropriation as a means to develop multiple complex geometrical surfaces for video projection. The purpose of this research is to document a working process within a pre-defined set of guidelines that is influenced from my past work and the study of other artist?s prior work. Research includes the demonstration of the entire working process to create this original work and recommendations for future artists who wish to work in this medium.

The research involves the creation of an interactive installation showcasing the dynamic nature of human visual observation of a still photograph. Using an eye tracker as an input device, the data collected is used to create a photographic collage in stereoscopic 3D. The installation is artistically inspired by selected photographic works of artists David Hockney, Maurizio Galimberti, Joyce Neimanas and Cubist painters especially Picasso. One of the key factors in their work that is adapted in this research, is the representation of the way eyes search points of interest demonstrated in what they painted/photographed. The installation will demonstrate an expressive representation of the viewers' experience of looking at a photograph. This will be achieved by applying certain manipulations of the photograph based on the input obtained from the viewer using an eye tracker. The eye tracker collects information about the location and number of instances of where the viewer is when observing a photograph. This is fed into software that processes the data and determines the location and the size of the area of the photograph and amount of the manipulation to be applied to that area. These two constitute the artistic rules that are used to create the end product the photo collage. The individual pieces of the collage will be arranged in a virtual 3D model by the artist and will be projected in stereoscopic 3D. The development of this installation progressed through multiple case studies and optimization based on ease of use, cost and availability of resources. This process is intended to be a framework for artists working in interactive visual media.

In this thesis, I develop a program to automatically assemble collage sculptures, sets of arbitrary, non-overlapping elements arranged to fill out a recognizable target shape according to a set of procedural rules. A user provides the target and element shapes and the program procedurally places the elements in spherical holes in the target space. A signed distance function defined over the target space keeps track of the remaining holes to fill. Elements are preprocessed to determine the size of their smallest enclosing bounding sphere. They are placed in holes based on the radius of their bounding sphere. After each placement, the signed distance function is efficiently updated to account for the newly added element. Elements are placed from largest to smallest, filling the space to a predefined threshold. To demonstrate this program, I generated a number of collage sculptures. In accordance with our procedural rules, the elements in the resulting collage sculptures recognizably represent the target shape, do not overlap, are not deformed from their original shape, and display variety in size, position, and orientation.

This work explores how the idea of collage as ”components put together to create a new whole” can be used in the creation of garments and visual expressions in fashion design. As collage in fashion often is reduced to mere decoration in e.g. print design added to predetermined shapes, this work wishes to have the collage be the dominant factor in the creation of the garments in this collection. By two-dimensional material collages this exploration aims to investigate composition of material, colour, surfaces and shapes in dress. The technique of fusing is used to attach the different materials to each other using the material Vliesofix and heat. The garments are created flat with the possibility to enter in-between the layers of the materials and give shape on the body. By collaging with materials this work tries to bring the creation of material and construction closer together in the design process as well as bring the sketch closer to the final result by sketching directly in the material. The potential of having the material development be present in all the design steps is that it creates a greater relation between the material and shape. The result is a collection of eight outfits proposing new ways of constructing garments at the same time as exploring materials and the technique of fusing. The garments are somewhere in-between sketches and final results and the collection can be looked upon as a fashion collection or as a series of examples of possible outcomes from working with this method.

Kiekvienas savaip suprantame meną. Menas mus supa visur ir visada. Mes visi iš prigimties esame kūrėjai, tik kiekvienas į grožio kūrimą įneša savo didesnę ar mažesnę dalelę. Aš tikiuosi į savo darbų kolekciją įnešti šiokį tokį indėlį kuriant meną. Mano baigiamojo darbo tema: „Užmarštis“. Darbų tikslas išlaikyti tiesiogines prisiminimų, emocijų sąsajas, prilyginat užmarščiai. Daiktai - geri ar blogi – vis tiek bus užmiršti, kaip ir žmonės. Baigiamasis darbas susideda iš dviejų dalių: teorinio aprašo ir praktinio kūrybinio darbo. Teorinėje dalyje pateikta teorinė analizė, darbo eiga, ieškojimų kelias, atlikimo technikos ir praktinis pritaikymas pedagoginiame darbe. Praktinę kūrybinę dalį sudaro trijų darbų kolekcija: asambliažai ant faneros (100x120 cm), atlikti mišria technika, tapybos technika aliejiniais dažais. Šis asambliažas – tapybos darbų ciklas - nėra skirtas konkrečiai aplinkai. Darbai gali būti eksponuojami parodinėse erdvėse ir visuomeninės paskirties interjere. / Each of us understands art in different way. Something what let people to see other side of life. As we know art is all around us. We are all born to be an artist, but everyone brings into beauty creation his little or big part. I also hope to bring my contribution into creating art. My thesis topic: "Oblivion". Works to maintain direct links between emotional memories associated with the disappearance. Good or bad stuff will still be forgotten, as people. The final work consists of two parts: theoretical and practical description of the creative work. The theoretical section presents the theoretical analysis, workflow, searching their way, technique and practical application of the pedagogical work. The practical part consists of three creative collection of works (100x120 cm) had a mixed assemblage - painting techniques with oil paint on plywood. This assemblage - the cycle of paintings is not intended for a specific environment. Works can be exhibited: hall public spaces and interiors.

Zugl.: Freiburg (Breisgau), Univ., Diss.