(un-)grounding the senses 2021
CGI photographs, photogrammetric scans, installation, acryllic.
Exhibited at KOOP Sofia.
This project draws parallels between embodied experience and emerging material forms of the contemporary image. The latter is processional, revealed anew via encounters between human and non-human agents. The 3D renders propose an exhibition to be experienced in movement and considers the audience as participant where images are created collectively by encountering them.
Encased within irregular plexiglass cubes that bear the multiplied dimensions of my laptop screen, acrylic prints constitute abstractions without an optimal viewing position. As sculptures assembled in parts, they form optical illusions pointing to the subjective and material sensorial experiencing of the world as existing in flux.
The abstracted photographs are the product of an encounter between myself and photogrammetry. The smartphone would react in movement and create a 3-D scan beyond my control. The process would be as unpredictable as the event of human interaction. These outputs have been imported into 3-D modelling software. The models bear the textures of simulated plexiglass to address the points of departure from and intersection between the real thing vs. its image fixed in representation. They have subsequently been photographed along vertical axis, leaving linear progress behind.
The dualism image-object has been exacerbated through conversations concerning traditional photographic practices and the digital image. The analogue print is considered superior for its emergence from within matter, as opposed to the intangible nature of digital photographs. This project maintains that the contemporary image is adopting more sophisticated forms of materiality, in part by defining our sensorial perception as material; and by bifurcating time to capture indeterminacy. A shifting understanding of spacetime is rendering the traditional metaphysical approach to photography inadequate.
Encased within irregular plexiglass cubes that bear the multiplied dimensions of my laptop screen, acrylic prints constitute abstractions without an optimal viewing position. As sculptures assembled in parts, they form optical illusions pointing to the subjective and material sensorial experiencing of the world as existing in flux.
The abstracted photographs are the product of an encounter between myself and photogrammetry. The smartphone would react in movement and create a 3-D scan beyond my control. The process would be as unpredictable as the event of human interaction. These outputs have been imported into 3-D modelling software. The models bear the textures of simulated plexiglass to address the points of departure from and intersection between the real thing vs. its image fixed in representation. They have subsequently been photographed along vertical axis, leaving linear progress behind.
The dualism image-object has been exacerbated through conversations concerning traditional photographic practices and the digital image. The analogue print is considered superior for its emergence from within matter, as opposed to the intangible nature of digital photographs. This project maintains that the contemporary image is adopting more sophisticated forms of materiality, in part by defining our sensorial perception as material; and by bifurcating time to capture indeterminacy. A shifting understanding of spacetime is rendering the traditional metaphysical approach to photography inadequate.
