Mellow Apocalypse
The world of images becomes ever more saturated, and our capacity to grasp and comprehend it is becoming more and more limited.  Poetically speaking, the map has grown larger than the territory. Nowadays we can access almost the entire visual culture that humanity has amassed. In this day and age, when each and every one of us has become a producer and storyteller who strives to express and draw attention to oneself, publicly wallow in melancholy in the social media, to earn money, practise civil journalism etc., the accessibility of the world of images is no longer a privilege, but a self-evident tradition.
I am interested in the fate of the canonized artistic, scientific and journalistic images and their potential to embody contemporary meanings. The collages are grounded in my search for syntactic visual language connections in the images pertaining to various periods, media and domains of the visual culture. I have used images from open source collections of museums, scientific institutions and image banks whose archives may be considered iconic testimonies of the present and the past. The collages make use of the ideas and technical codes established in the visual communication that transcend the borderlines of ages, media and cultures.  The codes that are so deeply engrained in culture that they are used without thinking and are understood through pre-existing schemas in the recipients’ minds. Although the decoding of images depends on the recipients’ interests, values, convictions and wishes, yet the globalized world of the visual culture is oversaturated with simulacra where the feminine and the masculine, the other, the desirable, the repulsive and the beautiful is depicted through the use of similar ideas and technical codes in different epochs and various media.
The technical execution of the collages is based in the image post-processing software algorithms, letting them overtake the accuracy and precision of image depiction. Thus, the digital post-processing technological features become a part of the collages’ notional and technical code.
All works are archival pigment ink prints on rag paper paper. Sizes from 120cm x 90cm - 150cm x 150cm.
Donggang International Photography Festival, DongGang Museum of Photography, South Korea 16/07/2021 - 19/09/2021
Back to Top