In his digital manipulation of objects, Jeffrey Knopf is influenced by the theory of defamiliarisation, in which everyday objects are rendered obscure. Knopf applies this technique to the paintings of Milner and Fordham. Though constructed two-dimensionally in paint, Milner’s structural masses take on a specific significance when filtered through Knopf’s manipulation of the forms. Knopf’s translation acts to establish something more tangible. Through Knopf’s translation to three-dimensions, these abstracted forms take on a greater significance that places their legacy firmly in the present day. In this context, Milner and Fordham’s forms cannot help but resonate with the aftermath of global conflicts, both past and present.
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