DONTPOSTME #11 (SUMMER ISSUE) lofi

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DONTPOSTME

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SUMMER ISSUE#11

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EDI TORS-I N-CHI EF/ART-DI RECTORS:

AZAMAT AKHMADBAEV & ZULYA KUMUKOVA EDI TOR:

ALI MA KUMUKOVA

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DD AA MM II EE NN CC AA DD II OO -- 77 77

AA NN TT OO II NN EE CC OO RR DD EE TT -- 55 99

CC AA RR LL AA AA NN DD RR AA DD EE -- 44 77

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http://jeremyolson.com/V

untitled portraits (V)

JEREMY JEREMY OLSON OLSON

untitled, 2010

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http://bjorgelise.com/

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Bjorg-Elise Tuppen

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“In Northern Norway, at 68°N, the sun dips below the horizon on the 2nd of December, and it remains there till the 10th of January. This phenomenon is generally known as the Polar Night, but we call this time of year ‘The Time of Darkness’. In the days following the sun’s disappearance one can still see its light gracing the snow-covered mountaintops. It is the suns final farewell, until we see it again next year - it is magically melancholic and extremely beautiful.”

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Krista Smith

interview

http://kristalouisesmith.com/

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ALEXIS, 2013

19

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p hy b be o w de d e g ra r a d in g i t is . In a si s in gle doc m en t s s o I u sse e p h o t o g rra a ph e c a u s e I llo o v e h ow ng le in s t a n t it do c u me f o r m a t io i o n a n d re d u c e s llif y e o f a lle s . T h is qu a lit y is a h u g ge m u c h in fo if e t o t h e e ye e n s. e a id in m y paintpro w h iill e t h e n a t u re o f p h ot o t o gr g r a ph p h y is i s t h is i s t a k in g o off lif e , pa in t in g gs iin ng p ro c e sss s b e c a u sse e wh s e v olv e i vii n g llii fe b a c k a n d t h i s re la l a t iio m e. g iv o n s h ip b e t w e e n t h e t w o is f a s c in a t in g t o me

Do y ou uuss e pph hot otos os or an a n y oth ot her er m ma atter eriia allss dur du rii ng n g ppai ai nti n ti nng? g?

I t h iin n k t h a t tto o p a in t i s t o p a r t ic i p a t e in a n a g e le l e sss s r it u a l . Wh e n o on n e go goe e s t o c le a n a p pa a llet , s q u e e z e o u t p a iin n t s, s , m i x m e d i u m ss,, st s t a r t lo ok o k in i n g , t h e se a re a lll l a c t io ion n s c a rr rrie ie d o ou ut to p pre re p pare are f o r a n e ve v e n t ; w h ic h i s t h e a c t o f p a in i n t in g . I a m m o sstt a bl b l e t o re a lly e n t e r in t o t h a t z on e w hen l o o kin k i n g a t t h e bo b o d y. W it i t h o u t c o n s c io u sl s ly y b e in g a wa w a re of o f it i t , I in c e s s a n t ly gr gra a v it a t e t ow a rd rds s fl f l e sh b e c a u se f or o r me m e i t iis s t h e m o st r a w, e v e n e pic .

What Wha t i s yo y our ur pper er so s ona nall ar t phi p hi llo ossop ophhyy ?

T h e re wa e r a s in g l e m o m e n t w h e n I kkn new I was g o in g t o be a n a rt is t . F or m e it w a s alw a s n e vve go w a y s a f e e lliinn g t ha ed to fo w m e a ro u n d . Si n c e m y v e ry e a rly c h ildh ood, I h a v e h ad a h at s e e m me ollll o ow me rou my d e e p se ng, w h ic s e n s e o f c o n n e c t io n t o m a k iin wh i c h ssiim m p l y b e c a m e s t ron ge r a n d c le a re r a s I grew m y e a r lly w en t i e s w a s h u g ge l y in i n f o r m a t i ve i n de c idin g t o m a k e a rt m y c areer o l d e r. Tr a v e lilin n g iin n my y t we e ly h o we e g e st u d iie e s iin n in o r d e si gn , a t rip t o I t a ly t o pa in t a n d s t udy w e v e r. Af t e r sstt a r t in g m y c o l lle i n t e r iio Arr t Hi st o ry r y c h a n g e d e v e r y t h iin gh v e n h a d a c h oic e , e v e ry da y t h e re w a s lik e A n g . As t h o u g h I n e v e r e ve a re - a w a kke e n in e d t o sa sff y a re so n a n t u r ge t o u n de rs t a n d t h e la n gu a ge of i n g w h e re I n e e d de s a t iis p a i n t in g .

CCa ann y ou ttel el l m mee ho h ow w yyo ouu en end ded ed uup p becom b ecom i nng g an ar a rttiiss t – w was as i t sso om meeth thii ng yyou ou al way w ay s kn k new ew y ou wer w eree or ddii d i t com e tto o y ou l ater at er in i n li l iffe? e?

PRESSED 1 8 " x 1 4 " o il o n p a n e l, 2 0 13

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M I N O TA U R 48" x 108" o il o n li n e n , 2 014 & MEGAN, 201 3

PAINTINGS P PA AI PNI ANTITI NNI TNGIGSNSG S P A I N T I N GP SA I N T I N G S

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BAND OF ST ARS 5 4 " x 5 6 " o il on canvas,

014 2 , S I s S a v E n can ANTH o l i o 0" 40" x 4

MI LK Y WAY 56 " x 54 " oil on ca nv as , 20 14

2014

T H I N K A B O U T.

T H AT PA RT I C U L A R Q U A L I T Y G I V E S M E S O M U C H TO

I a m dr a wn n t o sso o m a n y a r t is t s a t d iiffe ff e re n t st a g e s in m y de e n t . I n t h e pa a s f asd ra w n iin d e ve lopm lop me p as t I w wa c in h re n a is ssa a n c e p a in s.. T h e g llo ow ump y f l e s h a n d illu s ion azed m e. In i n a te t ed b y h i g gh i nt i n g gs wiinn g llu py io n a m ma me m o re re c e n t ye e r, I f iin nd see llff m o vi n g t o w a rd s m ore m in im a l pa in t in g a n d s c u lpt y e a r s h o w e vve d m yys mo wa rds min lp t ure a s w e lll l a s p e r f o r m a n c e . P I E T E R V E R M E E R S C H I S A PA I N T E R I H AV E B E E N L O O K I N G AT F O R A B O U T A Y E A R A S W E L L A S VA N E S S A B E E C R O F T. B O T H A RT I S T S H AV E A WAY O F TA K I N G S O M E T H I N G L O U D A N D M A K I N G I T V E RY Q U I E T O R V I S E - V E R S A .

Whi ch ar ti s t/ s d o y ou l ook up to th e m os t ?

A s f a r a s h a vi n g p a iin nted m a n y w o m e n I d o n o t t h in k t h e i r bodie As ma b od ie s a re s ole ly w h a t in s pire s me.

IItt is n m y l if e I h a ve e r ie n c e d m a n y diff ic u lt ie s a s w e ll a s bles si s s a fe f e t o s a y h o we w e v e r t h a t iin ve exp pe ing s b e in gs i n g a w o m a n , s o I re la t e t o h e r s t o orr y t o a f a r g re a t e r de gre e . I do n ot v ie w m y painti n g s a s e ro t iic c , b u t I d o h a vve e a lu l u sstt f or ba re f le s h .

Wh at has br ou ght yo ur g az e t o focu s s o deep ly on w om en? Why di d y ou ch oos e to pai nt them i n th is s ty l e – nud e and er ot ic?

. . . . . . ...... ... .

!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! !!!!!!!!!!!!!!!!!!!!!!!!!!!!!! !!! !

Irena Fabri

interview https://www.flickr.com/photos/irenafabri/

*

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Untitled, 2013

27

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s t re ssf u l proc e s s .

S o m e t im e s, a c o up l e o f ye a r s a re n e e d e d in o rd e r t o g a i n t h e i n si g h t in t o t h e fi n a l re s u lt o f My nam e i s Irena t h e pro d u c t s w h ic h Fabr i and I liv e in we a re wo rk in g o n . I Belg r ade. A fter t h in k , f ir st o f a l l , of co mp leting s econd - t h e a u t h o r, t h e d o car y ar t s cho o l, I was u m e n t a ry f i lm t h a t I lo ok ing f or the inter- am w o r k in g o n . es t that wil l pro vi de T H E P H O T O I S m e with the d y nam- F O U N D A S A N i cs, the o p po rtunit y O U T P U T A N D R E to ex p lo re, m ov ing L A X AT I O N I N b ound ari es and THESE CONDIco nso lid ating all the T I O N S , A G A M E tale nts I hav e. So I WITHOUT RULES. d ecid ed that m y f u- T h e p ro c e s s is si mture pro fes s io n pler and feedback wo uld b e to w o rk on c o me s r i g h t a f t e r the fil m as a di rect h e d e ve l o p in g o f to r and edi to r. f il m . Qu i c k ly it b ec o m e s c le a r t o y o u What i ns p ir ed y ou r wh e t h e r yo u h a v e lov e of p hot ogr aph y ? su c c e e de d t h e id e a H ow d i d y ou get i n to y o u h a ve h a d . F o r m e t o b e t h e ph oit ? tographer is a state of m i n d .

II nev er had the d esi re to beco me a W h e n p e o p le w h o pho tog r apher ; that a b so lu t e ly d i d n o t occur red s po ntak n o w m e , s t a rt e d t o neo usl y. Wo rk ing o n re c o g n iz e m y w o r k f ilm is v ery lo ng and a s s om e t h in g t h a t

Fi r s t, I wou l d l ik e t o as k y ou to i nt rod uce you r sel f t o our read er s.

In s p ir a t i o n o f t e n c o m e s f ro m p e rs o n a l re l a t io n s w it h p e o p le I p h o t og r a p h . T he y a re m a in ly p e o p l e c lo s e t o me . I h a v e n e ve r f o u n d a n i n sp i r a t io n in t h e i r a p p e a r a n c e , b u t in t h e e m o t i o n t h a t t h e y c a r r y.

Then I try to put t h e m i n th e i r a p p rop r ia t e s it u a t i o n , t o re a ll y sh o w t h e

W h e r e d o es t h e i ns p ir a t io n f o r y o u r p h o t o g r ap h i c wo r k come from?

m a ke s a ve r y st ro n g im p re s si o n o n t h e m , I h a ve re a li ze d t h a t i n fa c t a l l b e g i n s t o d e ve l o p , f o r m e , in s o m e v e r y u n e xp e c t e d d i re c t io n .

E a c h o f t h e s e p o sit i v e re vi e w s I n o w accept that as a c h i ld t h a t re j o ic e m e m o re t h a n a w a rd s I re c e iv e f o r p ro j e c t s which I worked on for years.

ALL OF THIS IS A KIND OF PHOTO D I A RY.

I f w e t a lk a b o u t l if e p h o t o g r a p h y, i n t h is c a se , i n sp i r a t io n c o m e s l ik e l ig h t n i n g, unannounced and a sk i n g f o r a q u ic k re s p o n se . C a p t u r in g su c h m o m e n t s is a sp e c i a l c h a l le n g e .

T H E I M P O R TA N T PLACE IN MY WORK IS GIVEN TO SELF-PORTRAITS, WHICH ARISE FROM THE NEED TO OVERCOME THE INTERNAL A N X I E T Y.

e s se n c e o f t h e i r being.

Untitled photographs, 2012 & 2015

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Untitled, 2010

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Untitled photographs, 2013

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E V E RY D AY L I F E MONOTONY WHICH IS S AT U R AT E D W I T H I dare s ay that m y wo r k wi t h G R E AT N A R R AT I V E S . p hoto gr ap hy i s enti rel y b as ed o n ex per ience g a in e d W h o p ar t i cip a t ed in y o u r within the f ilm indus tr y. T h e pr o j ec ts ? W h e re w er e t he arti str y and l ight are in p h o t o g r a ph s t ak e n ? f uncti on o f the co ns ti t u t io n of the atm o sp here, an d t h e T h e fir s t p h o t o i s a n i n t ifinal prod uct emb od ie d in m a te m o me n t o f a c o u pl e pho to gr aphy repres ent s w it h wh o m I s p e n d a l o t o f caug ht si ght, co mp os it i o n t i me w it h . T h e y h a v e e xcreated o f cur rent s en s ap re s s e d a d e s ire t h a t o n l y I ti ons . I wo uld note tha t I a m p h ot o g r a p h t h e m . T h e t r u t h talk ing here ab out ana l o g o f t h e m a t t e r is , b e t we e n u s p hoto gr ap hy w hich in v o lv e s th e re is n o d i st a n c e o r f e a r f ar d ifferent perceptio n in o f e xp o su re . relati on to dig ital . So , c a ptured m om ent is cond iI t is i nt e re s t in g t h a t mo st o f tio ned b y the uncerta in t y t h e p ho t o g r a ph s t h a t y o u and the precis e f ram in g re- h a v e s e le c t e d a re re la t e d t o s pectiv ely area that is b e in g a s h o r t , b u t v e r y im p o rt a n t o bs erv ed . S o, b y f o cusi n g p e r i od o f m y s t a y in t h e U K o n land scap es (natur al o r (o n t h e ri g h t p a g e ) . T h e cul tured ) and human f i g u re s p h o t o gr a p h s a re o f p e o p l e I contem plate d iff eren t e m o- t h a t I n e v e r m e t a ft e r I' v e tio nal s tates, relatio ns a n d le ft , b u t o u r re l a t i o n sh i p s i n s ituatio ns. W H E T H E R T H E Y th i s p e r i od we re v e ry i nARE DREAMY AND ETHEt e n se .

REAL OR EROTIC AND ECS TAT I C , P H O T O G R A P H S I h a ve a sp e c ia l re la t i o n s h ip ARE BEING USED IN A t o t h e p h ot o g r a p h sh o wi n g Q U E S T T O S E T O U T I N T O t wo fr ie n d s i n t h e o p e n s e a .

T H E U N K N O W N , T O C O N - Th a t w a s a re s u lt w h i le STRUCT THE DESIRED we ' re sa i li n g o n t h e b o a t COMPOSITION AND fro m S pa i n t o I t a ly. In p a rCONTRAST IT TO

Ho w w oul d yo u de sc r ib e y o u r ph otogr a ph ic styl e ?

SUNSHINE.

PA U S E FOR A CIGAR E T T E WA S

T h e o t h e r t w o p h o t o s a re d o c u m e n t a r y a n d o n e rem a in e d in m e m o r y of , fo r m e , t h e ma g ic a l p e ri o d wh i c h t o o k p l a c e in o n e of t h e b e st f e s t iv a ls in Be lg r a d e - S h a re . L a s t o n e i s t a ke n o n a bre a k d u ri n g sh o ot i n g o n e f e a t u re f il m .

A f r ie n d a n d I w a n t e d t o ru n a w a y, a s f a r a w a y f ro m pe op l e a n d t h e c row ds a n d i sol a t e a t le a s t f o r h a l f a n h o u r.

T H E N W E H AV E F O U N D O U R S E LV E S I N A C O M P L E T E LY D A R K H A N G A R , WHERE THE BROKEN R O O F S L I P P E D R AY O F

T h e g ir l in re d s t o c k in g s b e lo n gs t o o n e o f t h e f i rs t s t u d i e s t h a t I h a v e m a de .

A s I re c a ll, w e bo t h wa n t e d t o re p la c e t h a t d a y, t h a t b le a k wi n t e r a f t e r n o o n w i t h e n jo yi n g t h e p l a y o f l ig h t a n d c o l or.

t ic u la r, t h e se p h o t o s we re re p ro d u c t io n s o f m y t h o u g h t s , c re a t e d so m e t i me b e f o re I' v e h a d t h e o p port un it y t o sh o t it .

TA K E N W I T H M Y CAMERA.

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Untitled, 2012

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interview

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Joseba Eskubi

http://www.josebaeskubi.com/

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U NT I T L E D , 2 0 1 4 – O il on paper; 41x33 cm

Hello, Joseba. I’d like to start by saying that your style is rather extraordinary and interesting as you skillfully combine classical and modern approaches to art. Could you please comment on it and give a brief description of your work process?

In my painting the representation becomes a mise en scène where space is logical, the vol-

umes acquire degree of probability; but at the same time, the figure protagonist of the image is difficult to identify. It's kind of interference between the illusionism of a figurative narrative and the gestuality and the abstraction.

I OFTEN USE DIFFERENT TECHNIQUES (PAINTING, COLLAGE, DIGITAL, ETC.) THAT PROVIDE COMPLEMEN-

TARY PROCESSES THAT EXPAND THE POSSIBILITIES OF EXPRESSION. There is no a searching for effectivity, but rather the need to treat the same problem with different tools. From painting, my work has branched out into different areas, Sometimes, I have worked with images of Baroque painting, introducing changes that cause a decontextualiza-

tion of the original images. IN THESE WORKS THE COLLISION IS MOST EVIDENT BETWEEN DIFFERENT

STYLES AND

PROCESSES.

UNTITLED, 2014 – Oil on canvas, 55 x 33 cm

persons who have influenced in my painting. I think that eventually we I don’t really have a con- are all linked to the work crete definition of art and of the others, is a constant exchange of views its limits; I prefer to talk of perceiving reality. Just about an experience to mention a few close where the perception is ALFONSO GORreconstructed in very dif- artists: ‘ TAZAR, LUIS CANferent ways.

DAUDAP.

SION AND A SURI love the work of these PRISING SEARCH two artists; I would choose both of them.

OF NEW WAYS. IT’S Rembrandt's painting REALLY BE has a fascinating density, SURPRISING it’s like a wonderful geTHE EVOLUTION ography of brands and grooves. Figures emerge OF HIS WORK; from the darkness such THIS SO RICH as glows, flashes of wonDIVERSITY derful material.

Which artists have inspired Choose between the work you? Have they influenced of Rembrandt and Franyour life? cisco Goya and explain There are very numerous your choice please.

GOYA'S PAINTING HAS ALWAYS BEEN A REFERENCE FOR ME. IN HIS PAINTING THERE IS PAS-

How would you define art in your own words?

IN NUANCES.

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JOSEBA ESKUBI JOSEBA ESKUBI JOSEBA ESKUBI JOSEBA ESKUBI JOSEBA ESKUBI

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JOSEBA ESKUBI (BORN 1967) IS A SPANISH ARTIST WHO LIVES AND WORKS IN BILBAO, SPAIN. HE STUDIED ART AT THE FACULTY OF FINE ARTS OF THE BASQUE COUNTRY AND CURRENTLY TEACHES AT THE FACULTY OF FINE ARTS OF THE UNIVERSITY OF THE BASQUE COUNTRY. JOSEBA’S WORK HAS EXPERIMENTED WITH DIFFERENT WAYS, BUT LATELY HE HAS FOCUSED ON A SERIAL WORK ABOUT MATERIALITY AND GESTURE, COMBINING TECHNIQUES AND PROCESSES THAT TRY TO ACCENTUATE THE MATERIAL QUALITIES OF THE IMAGE. HE IS INTERESTED IN ORGANIC FORMS IN DECOMPOSITION, SOFT AND AMORPHOUS THAT ACCENTUATE THE TACTILE SENSE OF VISION. THE ARTIST’S WORK USUALLY PRESENTS A KIND OF STAGE WHERE THERE IS A SINGLE ORGANIC FIGURE, SILHOUETTED AGAINST THE BACKGROUND, TRYING TO MAINTAIN A CERTAIN AMBIGUITY THAT ALLOWS THE SUGGESTION AND EVOCATION. IN HIS PAINTINGS DIFFERENT ELEMENTS OF THE REPRESENTATION SEEM TO BE EXPANDED AND CONTRACTED IN A CONTINUOUS MOVEMENT OF THEIR QUALITIES. THE IDEA IS THAT EACH IMAGE HAS A TEMPERATURE, A CHARACTER LIKE A PORTRAIT OF AN UNKNOWN THING UNTIL IT IS CREATED. JOSEBA ESKUBI´S PROCESS IS QUITE INTUITIVE AND FAST, ACTING DIRECTLY ON THE CANVAS. HE GENERALLY WORKS IN A SERIAL PAINTING THAT CREATES A VISUAL CHAIN ON WHICH EACH PIECE IS ATTACHED TO THE OTHERS, FORMING AN INSISTENT ATMOSPHERE, WITH DIFFERENT VARIATIONS ON THE SAME THEME. THIS REPETITIVE STRUCTURE, PROJECTS ITSELF OVER TIME LIKE A BIG BODY BEATING AND BREATHING, THE STRANGE BODY OF PAINTING. IN SOME OTHER WORKS HE USES CLASSICAL REFERENCES TRANSFORMING AND MANIPULATING THEM UNTIL THEY LOSE THEIR INITIAL CONTEXT AND PRODUCE A NEW MEANING. IT´S A KIND OF COLLAGE WHERE HE TRIES TO SIMULATE AN INTERNAL TRANSFORMATION OF PROCESS OF PAINTING.

; ;

2012/2013

GEOMETRY OF ECHOES 35MM FILM PHOTOGRAPHY

::: : ::: ::: : ::: :::: : : : ::: ::: : : : : ::: ::: ::: : : : ::: ::: :::: : : : : : ::: ::: ::: : :: :: ::

Carla Andrade

http://carlafernandezandrade.com/

47 ::: ::: ::: : ::: : ::: ::

C A R L A A N D R A D E

C A R L A A N D R A D E

“I believe in those places, they do not sound or have names, perhaps characterized by the fact that there is nothing there, while around, everywhere, there is something. I believe in the oasis of emptiness. Man is the host of the reality” (Peter Handke)

from a play, not with form, but with time”. A photo, by its nature, refers to what isn’t seen, it selects an instant of a continuum. What shows invokes what is not shown. The meaning of a photograph lies in awareness between these poles of absence and presence. Geometry of Echoes search to photograph that void, that absence. But apart from this repetition into what is sought and what is given, this Non-narrative series, which study of the emptiness in the landthrough landscape reflects on scape represented by white, has about the representation of the emptiness in the space, symbolized several lines of research and they will be explained in a more exhausby the white. Emptied landscapes tive way. as allegories of sensory deception and metaphors of fragility. Study of the absent, the invisible, the form- FIRST, I’M INTERESTED IN less, the unintelligible, the mysTHE CONTRADICTION BEtery...

TWEEN THE IDEA OF "WHITE" AS "NOTHING" AND "BLACK" A priori, this research is more char- AS "SOMETHING", AS THE acteristic of painting or sculpture, "FULL". HOWEVER, THE but in this case is a kind of tautolLIGHT, THAT MAKES POSSIogy to John Berger's assertion that BLE THE REVELATION OF says"The true content of a photoTHINGS, IS WHITE; WITHOUT graph is invisible, for it derives LIGHT WE CAN’T SEE, IF WE

SEE NOTHING, WE SEE BLACK. For example, for Cubism, the white means the moment of awareness, and the black symbolizes which is not understood. In my case the black gives the shape.

THIS CREATES A GAME BETWEEN THE LEGIBLE AND THE ILLEGIBLE. What is understood by the viewer, and what the viewer can’t understand; the object of my study, the empty, the "no – figuration". For this reason, in Geometry of Echoes, the object is not important. The priority is the combination of colours and shapes, which are those that raise the first emotional response. Also are important the internal and intrinsic rhythms of the image. In this regard, my work makes use of a nonobjective, evocative and abstract language. It looks for the expression of the spiritual and essentially at the expense of details. Searching the essence of things.

On the other hand, I am interested in the concept of white as the neutral, the non-colour. This establishes an unknown. White and black determine two fundamental characteristics of the colours, which are the light and the dark. Thus, white and black are static colours, while blue and yellow are dynamic. But contrary to black; white is birth.

Black is death; there is no future in it, it’s an end. However white is a mystery, but full of possibilities.

“It will always be impossible to create a painting without "colour" or "drawing" but a painting without "object" exists...”

(W. Kandinsky)

G E O M ET RY O F E C H O ES

G E O M E T R Y O F E C H O E S

White sounds like a silence "A great Presence is hard to that suddenly can be undersee. A great sound is hard to stood. It is the primordial hear. A great figure has no nothingness, the nothingness form. " before the start, the birth.

(Lao-tzu) Maybe it's the sound of the earth in the white times of the In the landscape of traditional Taoist glacial period. art, the vacuum strips the image of (W. Kandinsky) all the details to stay in the essential lines that draw the landscape. So, in A very important reference, both my work, through fog or snow, the conceptual and aesthetic in my landscape becomes a mystery that work is the traditional oriental paint- makes it sacred. I ESPECIALLY INing, because emptiness is a fundaTERESTED IN WHAT THEY mental element in their Philosophy.

CALLED "YINXIAN" (VISIBLE - INFor them the empty link the visible VISIBLE) CONCEPT APPLIED ESworld to the invisible world, has an PECIALLY TO LANDSCAPE active role, it’s a living entity. It PAINTING AND THAT IS raises the internal transformation.

So the picture isn’t just an aesthetic BASED ON THE ART OF NOT SHOWING object, but a microcosm, which recreates, like the macrocosm, an EVERYTHING, IN ORDER open space where true life is possi- TO MAINTAIN ble. AS FRANCOIS CHENG EXPLAINS; "...BY THE VACUUM, IN EACH CASE, THE PAINTER FELT THE PULSE OF THE INVISIBLE IN WHICH ARE ALL THE MYSTERY. THINGS".

~

15 September: Solo exhibition, Galería Trinta, Santiago de Compostela. Spain.

09 - 13 September: SUMMA ART FAIR, Matadero de Madrid, Spain

12 june: MAC, Contemporary Art Museum of La Coruña.

upcoming exhibitions:

G E O M E T R Y O F E C H O E S

G GEOMETRY GEOMETRY OF ECHOES OF ECHOES CARL GEOMETRY OF ECHOES CARLA ANDRADE

GEOMETRY OF ECHOES CARLA ANDRADE LA ANDRADE

GEOMETRY OF ECHOES CARLA ANDRADE

CA

Antoine Cordet inter|||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||| view ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||

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59 GRAY RARE 2 0 14 1 4 – A c r yl ic on c a n va v as; GR AY NI GHT IIS S RA RE , 20 s; 18 ”x15” 46x38 cm / 18” x15 ”

Antoine, what is the main idea of your portrait series?

I paint portrait with for principal idea the sadness or the passivity. I try to explain nostalgia and the resignation that sometime people feel.

Tell me about your subjects please. Are they real people?

My subjects are my friends or the people I meet at parties or in the street. I take pictures of them and then I paint with this model.

How did you create your personal art style?

Who/what inspired you the most?

First I have worked a lot to find my own way, BUT I HAVE PAINTERS WHO INSPIRE ME LIKE

BORREMANS OR TINEI.

CA PH OU C E , 2 0 1 5 – A c ryl CAP H STONE STON E IN IN Y YO U R FA FAC r yl ic i c on c an v as; 46x 38 cm / 18”x 15 46x38 18 ”x1 5””

EA 2 01 4 – A cr c r yyll ic i c on o n cca OCE A N , 20 14 ann va s; 46 3 8 cm c m / 18 1 8 ””x 1 5” 4 6xx 38 x 15

BLO OD IIS S W HI TE I N R EA L, 201 4 – Acr y l ic on ca n va s; WHI 46x 38 cm / 1 8”x1 5”

FOR A SE EV EN H W OOD, 2 01 4 – A c r yl yliic c on o n c a n va s; s; VE NT TH WO 20 14 6xx 3 8 cm / 1 8 ””xx 1 5” 46 18 15

S NOW Y A UTUM N FROM F RO M HOUSE HOUS E , 2 015 01 5 – A Acr y lii c o n can ca n va s; SN OWY cr yl 46 x38 cm / 1 8”x 15 ”

M r. C A R PIN 4 – A cr n ca PI N ’ S G A M E, 201 20 14 c ryy lic o on c a n va s; 46 4 6xx 3 8 c m / 1 8” 8 ”xx 1 5” 5”

B E RI CH I N J AI L L,, 2 0 01 Acrr y li c o n c ca n va I WI LL BE 1 5 – Ac a nv a s; 4 6x3 8 cm cm / 1 18 ”x1 5” 46x 38 8”x 15”

c r yyllic ic o on c a n va s; IN L IQ U O R M A KE S W E LL , 20 15 – A cr n ca 46 8 ”x 5” 6 x 3 8 c m / 1 8” x 1 5”

Damien Cadio excalibur WHEN I ’M PAI NTI NG, I ALWAYS THI NK ABOUT A DUCK BY É RI C C ORNE

77

Cadio frames images that are already overexposed. His paintings are built on a notion of the limits of representation as incapable, in terms of understanding and scope, of giving an account of the object they delineate.

Any presence one may detect is either spectral or specular, reaffirming each subject's homothetic mystery, the mystery of trace, gesture, movement or sensation. The meticulously, indeed scientifically chosen fragments he uses are clues, parts of a

In scenes imbued with the unexpected, Damien Cadio's painting confronts the eye with seemingly concrete spaces simultaneously occupied by the imaginative and a fear of the imagination. Meticulously, he works as if furnishing a child's cabin, a theatre or a cemetery – but with images. As image, as resurgent heteropia (2) and dissembling of death, his painting captures the moment, indexes the real and pins down the isness of each work in its decontextualisation. Thus does Cadio define kinds of counter-sites, places neither recognisable nor truly locatable in which are revealed living things, landscapes and objects from the outer reaches of the human and the animal. His painting homes in on the indefinable, brushes over it in a disclosing of reality as surreal. Its subjects – found material from the Internet, newspaper photographs, mental images, scenes plucked from some chance urban encounter – are reframed to that breaking point where their immediate intelligibility is lost and the elusive is made plain. Here is a replaying of an endlessly primal scene in which, amid intimations of the familiar, something takes place.

Our life is endless in the way that our visual field is without limit.(3)

AS THE PAINTING OF APPEARANCE IN DESTABILISED, DESTABILISING FORMS, THE INTELLIGIBLE LIES BEYOND THE IMAGE, BEYOND WHAT APPEARS. ITS PERPETUAL DISTANCING OF IMAGES IS A BUSINESS OF EYES OPENING AND CLOSING – ONE PERCEIVING, THE OTHER DELETING – WHICH PRODUCES A DISTORTION OF THE PERCEPTUAL LIMITS OF SUBJECTS ELUDING ALL DEFINITION. Neither visible nor intuited, the intelligible is a secret, an aberration in no wise astounding, in which there is always a necessary distance from the painter – from what he perceives, conceives, sees – to the beholder, a distance in which the seen mingles with the not seen in residual nonadaptation. At issue here is loss: of bearings, of "how to see" colour and materiality, object and light becoming subjects.

An expanse of silence is required for sensing the image and its specular facade, its natura naturans (Spinoza) of forms and beings. Seeing non-seeing, like saying non-said: at the point where reason crumbles in the face of language. Not; this is not; painting is

The work of art is only such in its capacity to cut free of a context it never fully rejects. The work's site, setting and zone are thus to be understood as attempts to state the place of that which has no place, the mode of appearance of that which is not there.

The framing stands as that which undertakes the paradoxical insertion of the work into the world.(4)

mystery, of a non-communication open to multiple contradictory interpretations, a kind of trauma between two events.

Earth's First Evening Jimi Hendrixless, one of Cadio's recent paintings, initially seems to be verging on abstract expressionism, when in fact everything in this copy of an image

by Stan Brakhage5 is perfectly calculated. In the duration of painting the artist captures the ephemerality of imaged movement. A filmmaker who went to the essence of the medium – light reflected in darkness – Brakhage painted directly onto the film with Indian ink. The result was then reorchestrated image by image using an optical printer, with surface, colour, rhythm and image becoming pure experiences in their own right.

In this work Cadio demonstrates the thoroughgoing ambiguity of his painting and of the subject's origin. His realism, whether abstract or figurative, is never tied to form. La Jungle, Forever Like AntiOxidants and the quasi-geometrical abstraction of The Sky's the Ground, the Bombs are Plants and We're the Sun, Love are models of uncertainty as to what is really being shown; but in fact, as Daniel Arasse has so rightly insisted,

a motionless voyage from threshold to threshold, a solo crossing on which we are led astray towards Bartleby's I would prefer not to and its dissolving of all language, all communication. PAINTING HAS NO TIMELINE IN WHAT IT SHOWS: IN THE PRESENT OF ITS MAKING IT INTERPRETS THE TIMELESSNESS OF THE VISIBLE. IT IS A NON- OBJECTIVE CORRELATIVE, PROUST'S LITTLE PATCH OF YELLOW WALL, IN WHICH ARE HIDDEN, VIA THE OBJECT DEPICTED, THE POTENTIALITIES OF THE IMAGE: ITS SPACE, ITS TACTILE SURFACES AND ITS LIGHT.

C H E W I N G G U M À L ' A L U M I N I U M , 20 12 2 01 - 24x 30 an as 2 4x3 0,, O Oiill o n cca n vva

there is nothing to be seen. For Cadio these seemingly abstract paintings are also zones of silence, object- mute zones like those in the abstract paintings of Luc Tuymans – Lungs, Schrift – except that with his titles the Belgian refigures his abstract pictures .

Damien Cadio Damien C

In the review Valori Plastici in 1919 Giorgio De Chirico recounted his experience of images which, while familiar, have lost their connection with logic and comprehension, becoming an enigma to be exchanged between painter and beholder.

To distance oneself from things until there is much in them that one no longer sees and much that the eye must add in order to see them at all, or to see things around a corner and as if they were cut out and extracted from their context, or to place them so that each partially distorts the view one has of the others and allows only perspectival glimpses, or to look at them through coloured glass or in the light of the sunset, or to give them a surface and a skin that is not fully transparent.(7)

Freud's notion of Unheimlichkeit casts interesting light on Cadio's work: deriving from heim ("home") and usually translated as "uncanniness", the word encapsulates the frightening quality of nonetheless familiar things, as if objects, places and even human beings can sometimes cut free of all context and take on an unknown, incomprehensible form. If a seeming (but controlled) menace is perceptible in paintings like The Cut and Dies Hadas Suns, the disquiet emanating from the pictures is that of the end of a familiarity or, more precisely, of any continuum between being and its environment.

People are painted like flowerpots.

You're lucky if the outside gets drawn as it actually is, so what about the inside? The soul is a musical composition being played behind the curtain of flesh: you can't paint it, but you can make it heard. (Fantin-Latour) (6)

His paintings come in small and medium formats in which night-lights and subtle colours lend the subjects, mix them you might say, functioning as principles of equivalence, givens onto which the painter grafts his drama: black dog in a nocturnal landscape, a man with an endless tongue, a tattooed man seen from behind, a glove/bird, broken glass, lump of meat, landscape, etc. In this respect his work reminds us of that of Luc Tuymans, who brings the

Animate and inanimate merge as anima and animal change roles in Cadio's painting in which evolution is all: evolution as animal or puppet, evolution of landscape towards the human, a waiting for mythology, for a miracle: appearance lies in the backgrounded image, a grimace in the night, a lover's grimace.

A reality I shall not specifically describe as metaphysical is overlaid on this familiarity and calls up the image the way memory disorders do. Entering a room, I see a man seated on a chair, while I see a cage hanging from the ceiling with a canary inside it and I notice pictures and books on shelves on the wall; all this strikes but does not astonish me, for the chain of memories linking one thing to another explains the logic of what I see. But let us suppose for a moment that for reasons that are inexplicable and beyond my control, this chain should break: who knows how I would see the seated man, the cage, the pictures, the bookshelves? AND WHO KNOWS, THEN, WHAT STUPEFACTION, WHAT TERROR AND ALSO, PERHAPS, WHAT PLEASURE AND CONSOLATION I WOULD FEEL ON SEEING THIS SCENE?(8) These simultaneously compound and anatomised time frames at the heart of his method debar each other, breaking down and disfiguring the appearances of reality by displacement: things and beings are placed in non-situations and in disarray.

Cadio's titles reinforce this impression. Using his paintings, the artist seeks to communicate – I should like to stress this word – via titles which are, in fact, other veils, illusions, baits which in no way resolve the indescribability of the image.(9) Thus the titles are an overlay, a parallel to the image that lead us towards an interpretation or, better still, a reception foreign to the origin of the paintings. Making play with the individual subjectivity of reactions to the work of art, the artist deliberately sends us off down the wrong track.

NICE TO BE DEAD ON A SWEET BED.

THE VISUAL – THE VISIBILITY OF REPRESENTATION – SUSPENDS ITS MEANING: BREATH OF THE IMAGE, THAT SOLITARY IMAGE IN ABEYANCE, IN WHICH DEATH IS DISGUISED AS LOVE AND... VICE VERSA.

same meticulousness to Christmas decorations as to a gas chamber. For both artists images are at once signs of amnesia and impossible memory, of a deliberate freezing of history or of our contemporaneity. Thus are their paintings totally at odds with narrativity: the strange, the normal, the banal and the terrible cross-fertilise from one canvas to another, so that no painting can really be considered separately.

x3 0, B O G U E , 2 01 2 - 2 6 x30 Oil oon n w oo d

Cadio Damien Cadio

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Lengthy consideration of Cadio's paintings leads us towards the world of another creative artist, David Lynch: "I learnt that, just below the surface, there was another world."(11) And as Eric Dufour has commented, "Lynch's goal is to render strange everything that is ordinary and, symmetrically, to render ordinary everything that is strange...To render odd the least everyday action has as its correlate the normalising of the upsurge of the strange in the everyday."(12) I had had the intention of writing about

Like many contemporary artists, Cadio has his roots in the modernity of the twentieth century, with its ever-perceptible threatening of human beings by the inhuman: that peril at once internal and external, the peril of the image, of all those images with their everuncertain origins.

The dissolution of the human body, of the private into the impersonal, brought on by the loss of bearings in an environment become foreign but in which being remains under threat of internal implosion, is the iconic subject of many plastic, cinematic and literary artists. WITHOUT THERE BEING A FORMAL KINSHIP, CADIO'S WORKS HARK BACK TO EXPRESSIONISM AND SURREALISM'S VISION OF THE HUMAN BEING IN FUNDAMENTAL CONFLICT WITH HIMSELF AND THE WORLD. Everything seems to suggest that there exists a point in the mind where life and death, reality and the future, the communicable and the incommunicable, high and low cease to be seen as contradictory. And it would be pointless to seek in Surrealist activity any other motive than the hope of ascertaining this point.(10)

‘

"The demon was simultaneously in the thing he showed and in him to whom he showed it." If we take this proposition by Tertullian, so dear to Pierre Klossowski, and transpose the act of looking to the demon, the notion seems to retain a certain inner consistency: the looking was at once in the thing he showed and in him to whom he showed it. NONETHELESS LOOKING, LIKE THE DEMON – OR THE ANGEL – REMAINS OUR SOLE GUIDE AND MEDIATOR, JUST AS VIRGIL WAS FOR DANTE CAUGHT UP IN THE CONCENTRIC CIRCLES OF HUMAN REASONING AND OF THE NECESSARY ARTISTIC FOLLY LEADING HIM FROM HADES TO PARADISE. Virgil is Dante's memory, just as the painter's looking towards his painting is the memory of all paintings. Thus does the image resist words: the words are deleted and there remains only the

Damien's painting ever since I first met him and now, at the end of this essay, I realise how totally resistant to language, how hard to pin down in words it is. Blurring is central to his painting, making it unrecognisable, ungraspable – protecting itself, the image is revealed as monstrous or with its breathing subtly on hold. In this blurring of meaning and scale the infinitely small turns out to be macrocephalic. Gulliver awaiting Ithaca among the shadows where the sun is silent. OUR LOOKING AT PAINTING IS ALWAYS A SOMETHING FOREIGN, AND OFTEN AN UNWANTED GUEST, BLIND IN HIS SPACE WITH ITS INTERMINGLING OF MOVEMENT AND REPOSE, DAYLIGHT AND GLOOM, SILENCE AND SOUND – SOUND AND FURY.

For Damien, with all my best wishes, Paris, October-November 2009

IS AT THE ORIGIN OF ORDER.(13)

A TWICE-MADE ASSOCIATION. IT TRACES A DIRECTION IN CHAOS AND

SINCE WE BUILD OUR WORLDS

BY ASSOCIATING PHENOMENA, I WOULD NOT BE SURPRISED TO DISCOVER THAT AT THE BEGINNING OF TIME THERE WAS

feeling of a world unexplored, the painter's world which must be swum across with or without the aid of a the wing of a duck.

L’Assaut de la Menuiserie 11, rue Bourgneuf 42000 Saint-Étienne France

Damien Cadio Murailles June 6 - July 7, 2015

C O E U R VA I L L A N T F O R E V E R , 20 12 2 01 2 - 25x 30, o od 2 5x3 0, O Oiill o n w wo od

upcoming exhibition:

1 – David Lynch quoted in Starfix, 1990. 2 – Ludwig Wittgenstein, Tractatus LogicoPhilosophicus, 6.4311, trans. C.K. Ogden, Cosimo Classics, 2007. 3 – Dominique Vaugeois, Où y a-t-il art ?, www.fabula.org. 4 – American director Stan Brakhage (1933– 2003) was one of the 20th century's most prolific experimental filmmakers, with over 300 films to his credit between 1952 and 2003. 5 – From curator Rudolph Koella's introduction to the catalogue for "Fantin-Latour, de la réalité au rêve", Musée de l'Ermitage, Lausanne, 2007. 6 – Friedrich Nietzsche, The Gay Science, trans.

Thomas Common, Cambridge University Press, 2001, pp. 169-170. 7 – Giorgio Di Chirico, "Il ritorno al mestieri" in Valori Plastici, November-December 1919. 8 – cf. supra, Damien Cadio in an interview with Sophie Kaplan. 9 – André Breton, Manifesto of Surrealism. 10 – Éric Dufour, David Lynch: matière, temps et image, éd.Vrin, 2008, p. 27. 11 – Ibid., p. 14.

12 – Witold Gombrowicz, quoted in Czeslaw Milosz, The History of Polish Literature, University of California Press, 1969, p. 437. http://damiencadio.com/

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I N S P I R AT I O N I S A C O N S TA N T T H I N G T H AT ' S A LWAY S S H I F T I N G A N D D E V E L O P I N G . I S AV E T H O U S A N D S O F I M A G E S I S E E F R O M A L L K I N D S O F P L A C E S , TA K E I D E A S F R O M B O O K S A N D F I L M S A N D C O M P U T E R G A M E S . M Y W O R K I S U S U A L LY A R E A C T I O N T O T H E S E I M A G E S , T RY I N G T O W O R K O U T WHY I FIND THEM INTERESTING AND HOW THEY FIT TOGETHER IN MY HEAD.

Wh er e d i d y ou get t he i ns pi r ati on f or t hi s s er i es?

I us e a m ix of m e d i a , ma i n l y o i l, a c r y li c , va r i o u s t y p e s o f p e n s a n d p e n c ils , a n d c h a rc oa l. Th e oils I u s e a re f as t dr y ing alk yd s , us ually fo r d e t a il w h e re I f i n d a c r yl ic s d r y t o o f a s t . I u s e a c r y lic m e diu m s t o t ie e v e ry t h in g t oge t h e r, s eal off layer s and g iv e d i ff e re n t s u r f a c e s t o w o r k o n . A t t h e m o m e n t I o f t e n u s e c o lo u r gla z e s a n d t ra n s pa re n t , t h in ly applied o il p aint, w hich I g u e s s s o m e w h a t m im i c s l a ye r i n g in P h o t o sh o p o r t h e t y p e s of im a ge s y ou ge t on s c re e n s and in reflecti ons . I real ly l ik e l a ye r i n g in i m a g e s a t t h e m o m e n t , s o I u s e a lo t o f t r a n s pa re n c y t o le t t h e e a rlie r t e x t ures s ho w t h ro u g h in p a r t s .

What t y pes of m edi a do y ou u s e i n t he pr oces s o f crea ti ng a n ew pi ece?

I n s om e way s I f a il e d , b e c a u se a l o t o f t h e s e pa i n t i n g s p ro b a b ly h a v e a s im ila r a m ou n t of w ork in t h e m t o t he la rg er s cale w or ks , b u t i t wa s st i ll a re a ll y i n t e re s t in g p ro c e s s. T h e re w a s s o m e t h in g I re a lly lik e d a bou t h a v in g t he pieces b e a u n i fo rm si z e a s w e ll, t h e i d e a t h a t t h e s e a re a n u m b e r o f e qu a l w in dow s on t o a w orld.

I wanted to p ro d u c e a l a rg e r n u m b e r o f p h ys ic a l l y s m a ll e r p a in t in g s t h a n I u s u a lly h a v e don e f or s h ow s in t he pas t .

It's b een a long t im e n o w si n c e t h e da y s wh e n I u s e d t o m a k e d ig it a l im a g e s , bu t s t ill on e of t h e t h in gs t h at com e from that back grou n d is t h e qu e s t io n of h ow la r g e a n im a g e sh o u l d b e . So m e t im e s it ' s t e m pt in g f or m e t o m a k e a paint ing really b ig, b eca u s e in s om e wa y s it g i ve s i t a n i mm e d ia t e i m p a c t , b u t a t t h e s a m e t im e t h e in v e s t m e n t of t ime et c. in a larg e w or k ca n a lm o st m a ke m e se c o n d g u e ss m ys e lf . I w a n t e d t o t r y t h e dis c iplin e of produ c in g a la rge r number of s ma l l e r p ie c e s , bu t a ls o t h e f re e d o m t o t r y ou t ide a s .

To s tar t wi th , wh at ar e th e m ai n g oal s o f yo ur p r ojec t "End les s Su m m er"?

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C R AW L E R , M A P S T O T H E S TA R S , B I R D M A N AND THE DOUBLE.

Books, films, TV shows and video games - I've been trying lately to make a conscious effort to read/watch/play as many different interesting things as I can, because I find it easy sometimes to drift into doing the same things over and over again. Recently I've loved: The Narrow Road to the Deep North by Richard Flanagan, Suddenly, a Knock on the Door by Etgar Keret, The Pale King by David Foster Wallace, A N D T H E F I L M S N I G H T-

A n d as i de fr om wor k, wha t ar e i n t o?

I'm currently doing work for a show in London this summer with Lazarides, and the last few days I've been looking at different ways to hand finish some prints.

A r e yo u cur r entl y wor ki n g on an y new ex ci ti n g pr oj ects ?

I went to see exhibitions by Jenny Saville and Adrian Ghenie, and it was really good to see their work in person.

Wh ich art i st /s has i m pr es sed yo u the m os t l atel y ?

Oh, there’re so many things - I look at art blogs every couple of days, even if it's not quite the same as seeing work in person I love looking at loads of different people's work. E V E N I F T H E W O R K I S N ' T N E C E S S A R I LY E X A C T LY T H E K I N D O F T H I N G I ' M I N T O , T H E R E ' S O F T E N A N A S P E C T T H AT ' S R E A L LY I N T E R E S T I N G - A K I N D O F C O M P O S I T I O N I ' D N E V E R T H I N K T O U S E , A WAY O F H A N D L I N G PA I N T T H AT ' S V E RY D I F F E R E N T T O H O W I D O I T, O R A N I D E A E X P R E S S E D T H AT I ' D N E V E R H AV E T H O U G H T O F.

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N AT U R A L LY A L L T H E W I N D O W S S TAT E S A R E F O U N D , N O S TA G E D P H O T O G R A P H Y. ”

I H A V E B E E N T O L D M Y A P P R O A C H I S V E R Y P H I L O S O P H I C , T H AT I M I G H T H A V E B E E N I N F L U E N C E D B Y M Y S T U D I E S , W H I C H L E A D S M E T O C ATA L O G R E A L I T Y, P U T T H I N G S I N T O B O X E S , C AT E G O R I E S . . . I T M I G H T B E T R U E . M Y W O R K D O E S C O M E F R O M ( A N D L E A D S T O ) A D E S I R E O F K N O W L E D G E , T O S T U D Y M Y S U B J E C T, T O U N D E R S TA N D I T, A N D F I N A L LY U S E I T A S M AT E R I A L T O E X P R E S S M Y S E L F. L I K E A L A N G U A G E . T H E R E ' S A L S O A C H R O N O L O G I C A L O R D E R I N T H E D E V E L O P M E N T O F M Y F O U R S E R I E S , I S TA R T E D C O L L E C T I N G T H E FOUND (IT'S THE RECOGNIZING PROCESS) AND ENDED UP SHOOTING THOUGHTS (IT'S THE USE OF THE G A I N E D L A N G U A G E - W I N D O W S T O M A K E N E W M E A N I N G , M E TA P H O R S ) . I A M TA L K I N G A B O U T T H E R E A S O N S O F M Y S H O O T I N G H E R E , M Y S H O O T I N G H I S T O R Y, R AT H E R T H A N T H E I M A G E T H AT R E S U LT E D F R O M I T. I N T H E R E S U LT, T H E A C T U A L P H O T O S , A L L T H I S ( F O U N D , P E R F O R M I N G , S T O R I E S , T H O U G H T S ) O V E R L A P S .

I O F T E N H AV E P H O T O G R A P H E D A W I N D O W/S I T U AT I O N A N D S O O N A F T E R F O U N D I T H A D B E E N R E P L A C E D (L I K E T H E O W L W I N D O W, F O R E X A M P L E ) O R D E M O L I S H E D . A L L T H I S T O S A Y T H A T T H E R E I S A S T R O N G T E M P O R A L E L E M E N T I N M Y W O R K . C A T C H I N G T H A T PA R T I C U L A R M O M E N T I N T I M E , A S A M O M E N T O F " P E R F E C T I O N " ( T O M E ) . T H E R E I S A L S O A S T R O N G S PA C I A L E L E M E N T. S O M E T I M E S I T ' S N O T A B O U T T H E W I N D O W I T S E L F, B U T T H E W A Y T H A T W I N D O W S L O O K S F R O M A D E T E R M I N E D P O I N T O F V I E W. T H E R E W A S N O P O I N T T O C O M E B A C K O N T H E S P O T W I T H A B E T T E R C A M E R A , A S I T W O U L D A L W A Y S B E G O N E , T H E P H O T O I W A N T E D T O TA K E . T H I S I S T H E R E A S O N W H Y M O S T O F T H I S W O R K I S S H O T W I T H C O M PA C T C A M E R A S , E A S Y T O C A R R Y A R O U N D .

“I began photographing windows in summer 2003, and two years after I realized that I was no longer interested in anything e l s e . M y l o o k i n g a t w i n d o w s i m p l i e s a l w a y s t h e w i n d o w - o b j e c t b e i n g a n a c t o r, s a y i n g s o m e t h i n g .

M y w o r k i s d i v i d e d i n t o f o u r s e r i e s , w h i c h g i v e s a n u n d e r s t a n d i n g o f m y s h o o t i n g p r o c e s s a n d c h o i c e s , b u t i t ’s r e a l l y o n e whole body of work, this of the windows. All four series capture temporary states (and this is very important - the specific moment that makes one window look special to my eyes, as if it were "found art") in which, thanks to chance (light, architectonic context) and perspective, the windows seem to transcend their practical function to take an aesthetic and artistically expressive form. W indows are like living objects, they change shape constantly and one never can count on returning under a w i n d o w a n d f i n d i t i n t h e s a m e s t a t e a s b e f o r e . E s p e c i a l l y i n N e w Yo r k .

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