Within my practice, I research and experiment with the physical and material properties of the photograph across darkroom photography and the challenges brought by the post-digital age such as the loss of material presence and the stress of representation. As a result, my work takes the form of spatial and material hybrids at the intersection of photo-printing, sculpture, and installation. By treating photography as a fluid medium, the result of my process is photographic objects activated by dynamic printing and installation strategies. Dealing with digital and analogue photographic ontologies, my work is primarily based on the photogram and luminogram techniques, which I blend with digital UV printing on transparent surfaces and transform into three-dimensional objects with thermoforming.
By Dániel Helyes
From FLUX FIX group exhibition with Zsófia Jauernik, Renáta Pintérová, Dániel Helyes and Tamás Pál
1. After decades of critical analysis and years of our own striving to become images online, we should surely have a good understanding what flatness would mean today. But is this the case? What is flat, anyway?
2. In one sense, it means to be transparent, to be sly, invisible, to be backstage. It could also mean control as flat surfaces can be observed from an outside, and be arranged and analyzed. Are screens flat?
3. Our desire to be flat, blossoming from our youth and our early love for screens is at once aimed at self-arrangement and self-design. We are eager, uncommitted and efficient.
4. We are happy to announce that we are flat enough to talk about flatness. Is this something we like?
5. A question about style: have we been working together, even before we started working together in the creation of this exhibition? Is there something that intrinsically pervades any artistic work from the very start of any project? Did we have something we all blend into, a net of references, perhaps, a common ground of interest in banality? Does flocking together like birds help our survival after all? (We could have returned to the long-gone epoch of period styles in visual arts, without even noticing it.
6. Yet our wish to arrange and to conquer fails again. The events we describe, the 3D prints we make, the mythologies we construct, they fail too.
7. Everything is remote from us all in a pagan universe. Yet objects lay so bare, so flat, exposed to our eyes. What once was the screen now has turned to dark water, opaque and object-like.
Sticking The Moon With Double-Sided Tape
By Marta Barina on YET Magazine
From Sticking The Moon With Double-Sided Tape group exhibition at Fotopub with Billy Crosby, Matheline Marmy, and Majda Vidakovic
The artist curated exhibition 'Sticking The Moon With Double Sided Tape' offers a multicolored and multiform experience of tridimensional works with a distant connection with the 'photographic' that seems the artists are rather trying to break. When assembling the show, artist-curator Marta Barina imagined creating a cave where a frustrated photographer would keep her anti-photographic experiments and creations. While individually these four young artists unfold their practices on different grounds, together they occupy the ruins (the cave) of Novo Mesto with works that commonly escape from the bi-dimensional, wall-based, mono-view, to instinctively follow the urge of making.