Peter De Lorenzo might have been a painter or a classlcal vIolinlst. He trained In both arts. Instead. he Is a Painter. Musician, film·maker. computer. wizard – an archetypal example of the new breed of multimedia artists.
De Lorenzo is one of the Australians represented In Ngapartji’s Burning the Interface exhibltlon of 32 CD-ROMs by international artists.
He says the new technology has not so much inspired lila work as ‘enabled and enfranchised it’.
‘The state of the art, with these digital Imaglng tools. Represents a whole new exciting set of posslbllllles for me: I am so glad they came along at the rlght tlme for me to use.’ he says.
‘I worked with 16mm film in the ’70s using optical printers and so on, but wu forced to stop due to the cost; I find, to my joy amazement, that I can now spend as much time as is necessary. working on my desktop, worlking through endIess permutations and combinations of images and sounds, throwing away or archiving segments as appropriate.
“’Not only am I able to work agaln with the medium of tayerlng image and sound, but I am given direct control of every nuance. ‘Working and re-working the irnages I try to distill essential qualities, getting closer to ‘the lnstant’; this is a prooess of flIterlng, of iayerlng, of abstraction. lmaces and sounds, dancing and singing.’
De Lorenzo has an impressive resumé of exhlbillons and achlevements, much of It in film. And perhaps none of It would have happened had It not been for his Morris Major, the car he sold for $200 in 1974 to raise the course fee for workshops at tht Sydney Film-makers Co-op. The resultlng film screened In the Sydney Film Festival, toured to France and spun off for De Lorenzo two Experimental Film Fund grants which led him, via video, to computer technology.
In 1994 a New !mage Research grant enabled the making of thls exhibition work: Reflection, Abstraction and Memory Structures … RAMs.
De Lorenzo sees the CD-ROM as ‘today’s way’ to distribute work from the desktop. ‘Tomorrow there may well be another format or platform ot delivery,’ he says. Meanwhile, it is his hope ‘that the art schools bIte the bullet flnancIally, equip the high end digital imaging labs, and enfranchise the next generation of artists.’
By Arts Editor SAMELA HARRIS
THE Advertiser, Seotember 12, 1996, p20