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FMP other practitioners

  • HildeMaassen
  • Jun 16, 2020
  • 6 min read

Updated: Dec 9, 2020


Penelope Umbrico


Penelope Umbrico radically reinterprets everyday consumer and local images. She makes extensive use of existing images found in the "virtual" world. She is looking for decisive moments that often arise as moments of cultural absurdity. Identifying image typologies - candy-colored horizons and sunsets, books used as props - brings a new light to the farcical, surreal nature of consumerism


Penelope Umrico. 2012. 136 Mini Film Cameras. With Old Style Photoshop Filter.

Umbrico works mostly with images found on the internet. She presents them in ways that reveal the fluidity of digital photography. Something on the internet consists of ones and zeros. What happens with the transcription to a material object? When the subject breaks away from the materiality of the real subject, it becomes a kind of abstract. Her work explores the transition from one medium to another. she often crops found media and collects them. The found images are about he mass, the reproduction and the repetition of found objects. But also about normally hidden, unseen elements that through enlarging become visual.


The way she explores and researching the photographic medium is the thing that interests me.


Penelope Umbrico has created 171 Clouds from the Victorian and Albert Museum - Online Collection, 1630-1885.

Penelope Umbrico: 2018 still from ‘171 clouds from the V&A Online Collection, 1630-1885’,

In a way, this work is about what a photo is as she views photos of paintings on a screen. The starting point is therefore not a painting, but the photo of it, which is not viewed in print but viewed on the screen. This hides the materiality, texture and surface of the painting. In the same way, she has thought of clouds - such as a screen or a photo, cloud effects are often unseen but are felt. They are our background, our mood, they inform us and often influence us unconsciously.

Why clouds

The reason for her to choose clouds as the subject was because she wanted to represent the volatility of digital images in relation to the materiality of the screen. It is, she says, a paradoxical undertaking to make a cloud abstract and without surface, with the physical materiality of paint.


She wanted the clouds of the different paintings to flow into each other indistinguishable from each other. To achieve this effect, she used video software and a filter: "slow dissolve". This blended images. Symbol for the filter properties of the clouds is an analogy with that of photos and screens.

Umbrico likes the idea of the dreamy, ungrounded-ness we associate with clouds seen within the equally dreamy ungrounded-ness of digital space, and yet contained within the physically claustrophobic space of a thin flat media.


Like clouds, photos on the Internet are inherently fragmented, unassignable, unlocatable, indefinite, non-contextualized, and constantly changing. Printed, a photo is a reflective medium of reality. Technologically, the Daguerre was opaque and with the advent of the negative, transparency also came. The moment you take the photo on a film, it is still latent and it must be made visible and then the question is what it shows. Everything works around the presence of light.


Umbrico explores, researches the medium of photography in al its forms.


Storey extracted the Google Earth data of mount Moran. A place that Ansel Adams photographed. A 3D object was generated and printed using the internet data. A small ceramic ghost image of a mountain.

Penelope Umbrico and Thomas Storey- collaberation-Master Copy (Mount Moran), 2014 Sandstone 3D print
Penelope Umbrico and Thomas Storey- collaberation-Master Copy (Mount Moran), 2014 3D object on I-pad


Marguerite Humeau


Marguerite Humeau creates sculptures and sounds and that is where our work has an agreement. She investigates how something was or could have been without looking for the truth. The sculptures can be 3D printed.


Leondro Erlich


Leondro Erlich has made a series of objects consisting of 12 panes that together represent a cloud in an installation/ sculpture. Together they form a multi-layered cloud. The work is about imagination and wonder at the fact that clouds create a cerale; good-natured white at one time, dark and straw-like at other times. They move quickly and are large yet intangible.

White Cloud recalls the delicate beauty of nature and its talent for change and inspires us as we strive to change our impact on the environment.


Leandro Erlich 2012. Single Cloud Collection




Jungjin Lee was a ceramic student when she started photographing. She prints her photos on handmade mulberry paper through a self-developed process. A very laborious process. She creates cross-cultural, Eastern and Western traditions blending into photographic landscapes.


She always tries to express her inner feelings to the point of desperation. Intuition is crucial.


The lot with original prints has the tactile quality of the print; size is also important. She wants people to feel the work as an object: that the print breathes.


What I like about the work is the feelings I get seeing the image and I saw in real life. I hope to have time to print my own work as tactile.

© Jungjin Lee. Everglades #14, 2014-2015.
© Jungjin Lee. Everglades # 17, 2014-2015



Shigeru Onishi - The Possibility of Existence


Spiros Hadjindjanos.


Hadjidjanos experiments with the process of simulating the movement of a large number of entities with implied collective social behavior based on group dynamics. He experiments with 3D print which for me is interesting to see.


Spiros Hadjindjanos. Height Map II.MMXVIII - 2018 inktjet print - 119 x 93 x 14 cm

Gives me the idea to print and afterwards make depth in the image with water vapor.

The work below is 3D printed in alumide and very big.

Left: Hainbuche 2015, 3D Alumide Print, aluminium coating, 108.5 x 80 x 15 cm / 42.72 x 31.5 x 5.90 inches

Right: Taraxacum Officinale (xyz) Alumide 3D print, Aluminium Coating, Taraxacum Officinale seeds, Charred Wood, 115 x 51 x 40 cm 2016


The series right is based on an image by the photographer Albert Renger-Patzsch. It is 3D printed in alumide. A 3rd dimension has been added. As a result, these works are three-dimensional depth maps of the source photo. By exerting forces on these deformable surfaces, Hadjidjanos transforms their flat surfaces; their shape adapts and follows other spatial elements (plinth, wall, floor). These transformations function as a metaphorical reference to the actual plant.

Left:Polypodium aspidiae, 2015, UV Print on Carbon Fibre Plate, 131×91 cm

Right:Cephalaria, 2015, UV Print on Carbon Fibre Plate, 131×91 cm

In this series, Hadjidjanos used 3D printing to create a 1928 book, The Plants Appear Fossilized. The botanical structures emerge with great force, as if they are driven out at lightning speed.


Sprios Hadjidjanos makes the largely invisible world of technology tangible in his artworks. Connections between past and present inventions, as well as man-made and organic, are central to Hadjidjanos' art practice. Such works as "Network Topologies" suggest an inherent harmony between the artificial and natural worlds.


Alexandra Germán

Germán explores fantastic worlds in her works. She researches techniques such as animation, drawing and photography. Since her photo series “Metamorphosis of a cloud” (2013-2014), light, landscape and meteorological phenomena are increasingly present. In clouds she investigates features such as the duration of a cloud, the displacement from point A to B and the contemplation of the sky through a pictorial and literary collection ("Variations", in progress) in search of a poetic approach to the sky through the study of clouds.


Alexandra German_Cumulonimbus

She has a blog with a lot of information on artists who work with clouds: https://alexandragerman.me/blog/





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© 2019 by Hilde Maassen 

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