Electronic alchemy and the creation of digital frottage

This studio-led research project describes how office-based digital and analogue techniques can be combined to execute an artistic process that I have termed ‘digital frottage’. The use of digital and analogue techniques allows for a mutual critique. In a re-interpretation of the historical frottage process, I show how the flatbed scanner can be used to take automated ‘rubbings’ of low-relief sculptural drawings created with Blu-Tack. I then show how the resulting scanned images can be cut and recombined using the computer program Photoshop. The total process has components that can be identified as either deterministic (patterned) or chaotic. Each of my digital frottage artworks is the result of object manipulation, digital scanning, digital cutting, digital montage and digital printing. In each of these actions, chance and disruption are present, and it is easy to view the overall process as alchemical. Key elements of alchemy are a mystery and the transformation of the commonplace into something of great value. My artworks are often said to be mysterious in the sense that it is difficult to discern how they are created. They also demonstrate that valuable artworks can be created using commonplace items such as Blu-Tack and office technology. The research demonstrates how the historical frottage process can be expanded by engaging with technology, and how our technological culture can only continue to broaden artistic expression. At a high level of abstraction, the digital frottage process is one of decomposition and recomposition. The overall process can be looked at as a formless procedure where the physical is transformed into the digital using a flatbed scanner and computer code. The writings of Georges Bataille, Rosalind Krauss and Yve-Alain Bois on the formless are reviewed to make linkages with other artistic endeavours.