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The image of war

The image of war

2019

The central part of the project “The image of war” is a coat or, more specifically, a trench coat. The long evolution of this model is largely influenced by war conflicts. Many
parts of a coat model are rudimentary today, referring to its war roots. This is most noticeable by taking a look at the model of trenchcoat. Its very name suggests its original
purpose.

 

A coat has become a traditional element of the fashion industry (especially male). A contemporary model of a trench coat by default has to have at least some elements of the military trench coat. These are usually nothing more than decorative.
 

Such treatment of the military heritage reminds me of “skins” in videogames. Skin — is an appearance of the avatar including not only clothes but the complete rework of the
3-D model. Skins are just cosmetics that have no real impact on the game.
The project “The image of war” is a reflection on military roots existing as cosmetics in the fashion industry. The project turns to fashion photography and in-game
photography.

 

For the project, I recreated my model as a 3-D one dressed in a trench coat. I integrated it into several games (GTA San Andreas and Brothers In Arms: Hell’s Highway) and
used it as skins. The new appearance had no connection to the events of each game.

 

The fashion photography in the studio was done simultaneously with the in-game photography set. Both games were hacked and modded with the necessary tools for the
shooting process. From the gameplay point, my actions made no sense but were rather consistent in terms of in-game photography.
All these actions in both games led to different unprecedented events. This not only changed the representation of the game but also forced to look at the trench coat from a rather absurd standpoint. As a “fashion” in-game photographer, I was trying to make my shooting playground clean and empty, thereby imitating a normal fashion studio set. My real shooting set was held on a cyclorama. There a light reflected the way that it created an empty and detached space in the final image.

 

My experiments with the games led to: the creation of the doppelgangers of my model, killing each other, the appearance of huge structures from emptiness, the creation of doors leading to nowhere. All that happened by accident. These situations were rudimentary to both videogames and had no connection to normal gameplay.
 

Both games had different in-game photography methodologies. For GTA San Andreas, I largely used the so-called Hidden Interiors Universe (HIU). It is a gigantic dark empty space used as a test playground for developers. It is not accessible without meta forms of gameplay. I used it as an alternative to the real-life studio space and used glitches as tools for the shooting set. The game was also modded with a free camera and FOV control. The skins of NPCs were also changed. The light was controlled via the cheat-code for time acceleration. That let me use different light artifacts randomly triggered in the HIU. For Brother In Arms: Hell’s Highway, I turned on the developer mode for the camera control. That also allowed me to place my model outside the map of the game. It triggered the «Hall of Mirrors» bug that creates copies of the avatar. The light was controlled by moving the avatar beneath the gameplay map, thereby controlling the sunlight beams.

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The image of war