Coded Image and Net Compositional Structure

Written By Kevin Roque

Lehrer, W. (1988). GRRRHHHH: A Study of Social Patterns [Book]. https://warrenlehrer.com/grrrhhhh-study-social-patterns-1988/

Kress and van Leeuwen (2021) describe the "coded" image as simple, abstract, and a deliberate departure from naturalistic representation. It is characterized by reduced detail, a stylized and conventional approach, and the absence of depth, shadows, or subtle color nuances. Instead, its elements are plain, bold, and straightforward, arranged in a structure that does not imitate the real world but adheres to a predefined visual code. This approach is not merely a stylistic choice. Unlike photorealistic images, which emphasize likeness and intricate detail, coded images minimize visual distractions, making them ideal for analytical purposes. This format aligns naturally with computer imaging.

When integrated with the "net" compositional structure, the coded image adopts a nonlinear arrangement, characterized by the absence of a clear beginning, center, or end—reflecting the inherent nature of computer systems. Applied to narrative art, this approach generates multiple interpretations while maintaining thematic coherence.

The net compositional structure goes well with the constructivists’ idea, wherein the emphasis is on the active role of the viewer in the process of visual perception. They believe that viewers mentally construct a scene by briefly focusing on different parts, with the brain combining these quick glances into a complete picture over time. (Lester, 2003)

Reference:

Kress, G. and van Leeuwen, T. (2021). Reading Images: The Grammar of Visual Design (p.25). Routledge.

Lester, P. (2003). Visual Communication: Images with Messages (p. 47 - 61). Cengage Learning.

Kevin Roque

Utilizing a collage approach in drawing, Kevin Roque offers enigmatic works that touch on societal issues and literary perspectives. Roque graduated with a Bachelor of Fine Arts (Painting) at the University of the Philippines Diliman in 2022. Before this, he was a self-taught artist, creating illustrations and book covers for locally published books. Roque has participated in various group exhibitions in Metro Manila since 2010 and has had solo exhibitions at the Prism Gallery and the Center for Art, New Ventures & Sustainable Development (CANVAS) Gallery. He also joined local artist residencies such as CANVAS Artist in Residence in Batangas and Linangan Art Residency in Cavite. Recently, he got shortlisted for the first SANAG UP Art Prize. Roque has been a member of several artist groups, including the UGATlahi Artist Collective, Ang Ilustrador ng Kabataan (InK), and the Malate Literary Folio.

As a skilled worker who values technical skill and craftsmanship, he uses graphite in drawing to capture the gritty details and nuances of his subjects, making it a powerful storytelling tool to illustrate issues such as inequality, labor conditions, or societal injustices. In his compositions, he seemingly blurs notions of reality and perception. This deliberate blurring of boundaries adds layers of depth and intrigue, inviting viewers to contemplate their fluidity and subjectivity. He also employs visual metaphors, where images stand in for larger ideas or narratives. This allows him to convey complex themes or stories in a condensed and evocative manner.

“In all his works, the referents, whose meanings are culled from history, literature, and present social conditions, are made to exist in the same pictorial plane. Often, what they signify, coincide, collude, and blur. Roque’s inchoate marks and textures also draw attention to a palpable sense of space. Instead of a tabula rasa, one discerns faint and obscure stirrings between and amid more established significations. Roque’s works reveal indications of progressive politics yet veer from direct fervor and incitement of emotions. Without discarding the seriousness of the topic, Roque employs more oblique methods that prod at the surfaces and forms of the nation’s socio-historical and political issues“ (JC Rosette).

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Projection Mapping