GameScenes is conducting a series of interviews with artists, critics, curators, gallery owners operating in the field of Game Art, as part of our ongoing investigation of the social history of this fascinating artworld. The goal is to illustrate how game-based art is being created, shared, and discussed today.
Leonardo Sang is a Brazilian visual artist, photographer, and designer whose practice is overtly influenced by game aesthetics. Based in Sao Paolo, Sang is also a prolific game photographer. His ongoing investigation of ludic spaces culminated with Virtual Reality Photography (VRP, 2014) and Backseats in Games (2015).
The former uses games as a site for what Sang calls "everyday photography". His goal is to examine the role of image-making in a post-photographic world, à la Robert Overweg.
As he explains on his website,
VRP's objective is to show how photographic concepts can be applied in video games. all the pictures created are composed just like "real world" photography. Basic composing, alignment, lines, geometry and etc... sometimes just a curious snapshot. I'm not here to create a "visually realistic" picture, but simply trying to express photography through a different way.
Leo Sang, VRP (Battlefield 4), 2014
A more recent project is Backseats in Games, which consists of a series of images taken "from the backseat" of videogame cars, "even if some of the cars don't have backseats". Manipulated to look as black and white "photographs", some images reference the "road trip" genre, while others are imbued with a sense of (simulated) nostalgia. The series - which we featured on May 29, 2015 - comprises images appropriated from such games as Project C.A.R.S. and WCR 3.
We talked to San about the allure of virtual road trips.
Leo Sang, Backseats in Games, 2015
GameScenes: How did you select the games for Backseats in Games? Can you describe your creative process? Did you use a screengrabbing app or did you shoot the monitor/TV with your camera?
Leo Sang: I mostly use FRAPS for screengrabbing purposes, but I eventually take pictures of the monitor itself with my phone or camera too. Usually, I select games that I'd enjoy playing for VRP, but sometimes I do use games that have an interesting visual theme. For example, Assassin's Creed Unity, which I do not enjoy playing, but I like the whole "Revolutionary France" setting (laughs). The games I use also need a certain freedom to control the "player's view", so I can frame and compose with my own movements. I wouldn't use games with fixed cameras or cutscenes.
When I'm taking photos in videogames, I basically use the same process I'd use in the 'real world'. I just carry my "camera" around (player's view, in this case) and wander around, observing everything around me. When I spot something interesting, I stop everything and focus on my composition and take a screenshot. Just like digital photography, I like to post-process my videogame pictures. I usually don't like how the blacks are too dark and some games have too strong colouring. I give them a slight edit in the lighting curves and tones, sometimes add a bit of grain and it's done!
Leo Sang, Backseats in Games, 2015
GameScenes: It seems like you were more inspired by road movies and street photography than racing games. Is that correct? If so, did you have a particular artist or project in mind?
Leo Sang: Indeed. I do love cars and racing, but for photography I take my references from other photographers and cinema. The 'Kubrick one-point perspective' is a big thing for me and I really like Wes Anderson's style of composing too.
Kagonada, Kubrick - One-Point Perspective, 2013
Many other photographers too that I can't even count! Lewis Baltz, Becher Brothers, Ed Ruscha or Wim Wenders are the ones that come to mind right now.
As a 'real world' photographer, I use a lot of 35mm film. I also do digital, but analog photography is much richer visually for me. Digital is too crude, too detailed... I think there's more than megapixels in photography. A good composition and mood can beat any number of megapixels! That's one of the reason why I put a bit of grain in videogame photos, bring them a little closer to real eyes. Our eyes do not see in 4k.
I took interest in creating
VRP as a experimental project after seeing
Robert Overweg's work.
Leo Sang, Backseats in Games, 2015
GameScenes: Your palette features both black&white and color. Is there a specific reason behind your choice?
Leo Sang: It's mostly based on mood and aesthetics. Not much goes there, it's what I think it might look better!
GameScenes: Is the project ongoing? How many photographs did you take, overall?
Leo Sang: Yes, I'm still making photos! Since 2011, my tumblr says I've posted around 470 images.
Plus, a bunch of images I've made and did not post too (laughs).
Leo Sang, Backseats in Games, 2015
GameScenes: What is your own relationship to videogames? Do you consider yourself a "gamer", whatever that means?
Leo Sang: I love videogames! I guess that's how the project became real. I love photography and games, so I tried to combine both. Aside from the project, videogames represent my escape from a hard day of work, my own private playground where I can unwind and relax.
GameScenes: Did you show Backseats in Games in Brazil or elsewhere?
I did have two small expositions at Flag (an advertising agency) in Sao Paulo and Rio Grande do Sul. A few other media outlets made a few articles as well, like online articles. I also had few photos exposed in France, for Squared Records. And had a few blogs articles around Europe too. A very curious interview I did was for a student from Bauhaus, he was doing a paper about photography and chose to talk about me... (laughs)
TEXT: Matteo Bittanti
