ARTIST Anna Tas & Diane Burko

You are looking at an image that has been created by combining 30 separate frames. Each lenticular piece is made up of 15 individual images, that have been carefully selected and looped to give an effect similar to an animation.

Each of the 30 frames are thinly sliced and then interlaced into a single image via specialized computer software – with the desired kind of effect and viewing distance taken into account. Once this has been done, a lenticular lens is then carefully applied to the surface of the printed image – correct alignment is essential, to ensure the effect works and the viewer experiences the movement of the image as planned.

Lenticular lens are available in different sizes and types (depending on the size, desired effect and viewing distance), and these pieces are made with a 20 lpi (lenticules per inch – which basically means 20 lenticule forms (the rounded, concave, ridges) per inch of lens), as this gives us the result we are looking for in our finished pieces.

Diane Burko:

My practice is situated at the intersection of art and science embracing issues of climate change. Global warming became the focus of my practice over 15 years ago, beginning with glacial melt and sea level rise. Afterwards, I concentrated on our ocean’s coral reef ecosystems, and more recently issues of drought, the dramatic increase in forest fires evidenced throughout our world, especially in the Amazon Forest. I believe I can contribute to the public dialogue by bearing witness to the actual phenomenon, as well as learning from researchers in the field, and then processing that knowledge visually in my studio. I see myself as a subversive artist, creating compelling images which in turn inform the public of the dire threats facing our planet.

It is problematic to be an activist artist while being deeply invested in aesthetic beauty. I’m forever struggling to balance my deep-seated commitment to the environment with my painting, photography and time-based media practice. That friction is always productive, prodding me to explore new media such as the Lenticular. My concern for our environmental future, and adherence to an aesthetics compass, allows me to reach a wider audience.

My inclination to witness, translate, and communicate scientific information is expressed through all my work and is how I personally and professionally counter climate doubt – it’s my way of entering into the public discourse with the goal of moving the viewer to reflect, take responsibility and act.

Anna Tas is a British born artist, who currently lives in Philadelphia, where she graduated with honours from the University of the Arts.

Primarily known for her lenticular images, Anna’s work has been described as conceptual yet compelling, allowing the audience to interpret what they see in their own way, as well as stimulating discussion about how we see and how images persist in our minds. “I am fascinated by the physical interaction the viewer has with a lenticular piece, the way it changes with their movement and angle of viewing – it provides an initial moment of surprise, and then an extended period of contemplation. A literal and figurative ‘back and forth’! I really enjoy the dialogue that comes from a viewer who is seeing the work from their own perspective, rather than mine, someone who has no preconceived idea of what it is that I am trying to talk about […] I have no answers, no judgment, just questions. I am drawn to looking at why we think what we think, how we develop and learn to decode what we see and assign certain values (for want of a better word) without being really conscious that this is what we do. I am part of something, yet also apart from it – observing, watching, questioning, and wondering. Why? What? How?”

Anna’s work is held in private collections around the world, including New York, Miami, London, Amsterdam, Rome, New Dehli and Hong Kong.