VIEW IN MY ROOM
Study No. 5044 – Limited Edition of 1 Print
Germany
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Photo Paper
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10 x 10 in ($40)
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White ($80)
About The Artwork
The radically distorted photograph explores the limits of recognizability. I find it fascinating that the urge to interpret the world around us is so powerful that even mere fragments of images trigger it. You recognize the figurative subject only from a distance while up close you mainly see the microstructure. In reality, this effect will be more apparent than on a computer screen where you can only vary the distance slightly. Original artwork (one-off): 150 x 150 cm Edition: 1 / 1 + 0 artist's proof Signed on reverse Ready for hanging Original photo C-type face-mounted under matte acrylic glass (3mm) backed with alumi-num Dibond and sturdy aluminum frame Prints: 86.4 x 86.4 cm: open edition, not signed, frame optional 61.0 x 61.0 cm: open edition, not signed, frame optional 40.6 x 40.6 cm: open edition, not signed, frame optional 25.4 x 25.4 cm: open edition, not signed, frame optional
Original Created:2020
Subjects:Mortality
Details & Dimensions
Print:Giclee on Photo Paper
Size:10 W x 10 H x 0.1 D in
Size with Frame:15.25 W x 15.25 H x 1.2 D in
Frame:White
Ready to Hang:Yes
Packaging:Ships in a Box
Shipping & Returns
Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.
Handling:Ships in a box. Art prints are packaged and shipped by our printing partner.
Ships From:Printing facility in California.
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Germany
My radically distorted photographs explore the limits of recognizability. Viewed up close, they deconstruct themselves and dissolve into structures that reveal their own aesthetic quality. I am fascinated by the question up to which point we discard a visual stimulus as non-representational noise and when we try to conceptualize and interpret it as something meaningful. The result of this epistemic process reveals more about the recipient’s subjective construction than about the supposedly objective reality. The photos therefore undermine the representational character of photography and thus question one of its fundamental principles. The large-sized images are based on photographs taken with a smartphone. Due to the low resolution, this deliberately chosen methodological approach makes the restriction to a minimum of visual information a point of principle right from the moment of shooting. In a complex and highly experimental process, the raw material is then distorted to a point of almost being unrecognizable. I refer to this type of minimalist photography as epsilontics.
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