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  • Art. photography. For Example: bindi vora

    08.07.2013

    bindi vora

    photography

    I think anyone who has displayed work in an exhibition can relate to these photographs. The point at which a means of display changes and becomes the subject, and the part most examined, if only by the artist. In this case a crease or slight bend in the photographic paper becomes the main focus, rather than the image displayed on the paper. These photographs of the paper sculptures, fully embrace this transformation and in doing so, make them photographs once again.'Lustre', is a series of twenty photographs exploring the surface of a single sheet of processed chromogenic colour paper. This project stems from the experience of seeing a photographic print rip hours before the opening of an exhibition. My interest lies in the value we assign to printed images, the way photographs are handled and preserved, as a memento and commodity. The material itself is mass produced until an image is recorded onto the emulsion; only when this sheet is developed does it become a meaningful object. Lustre explores our engagement with the photograph as an object, creasing and bending the paper support until an irreversible mark appears, and the flat plane of paper becomes a sculpture. In the absence of an image, the traces left by handling are the only meaningful signs. Re-photographed in large format, the paper is returned to its original two-dimensional form. Its emphatic blankness heightens the ambiguity of photographic space. The white surface, takes on an ethereal quality, the illusion of marks held in tension with the flatness of the image. The expanse of white blurs the distinction between the edges of the paper and the edges of the image, playing with our perception of illusion and reality.

    www.bindivora.co.uk
  • Art. photography. For Example: bindi vora

    08.07.2013

    bindi vora

    photography

    I think anyone who has displayed work in an exhibition can relate to these photographs. The point at which a means of display changes and becomes the subject, and the part most examined, if only by the artist. In this case a crease or slight bend in the photographic paper becomes the main focus, rather than the image displayed on the paper. These photographs of the paper sculptures, fully embrace this transformation and in doing so, make them photographs once again.'Lustre', is a series of twenty photographs exploring the surface of a single sheet of processed chromogenic colour paper. This project stems from the experience of seeing a photographic print rip hours before the opening of an exhibition. My interest lies in the value we assign to printed images, the way photographs are handled and preserved, as a memento and commodity. The material itself is mass produced until an image is recorded onto the emulsion; only when this sheet is developed does it become a meaningful object. Lustre explores our engagement with the photograph as an object, creasing and bending the paper support until an irreversible mark appears, and the flat plane of paper becomes a sculpture. In the absence of an image, the traces left by handling are the only meaningful signs. Re-photographed in large format, the paper is returned to its original two-dimensional form. Its emphatic blankness heightens the ambiguity of photographic space. The white surface, takes on an ethereal quality, the illusion of marks held in tension with the flatness of the image. The expanse of white blurs the distinction between the edges of the paper and the edges of the image, playing with our perception of illusion and reality.

    www.bindivora.co.uk
  • Art. photography. For Example: bindi vora

    08.07.2013

    bindi vora

    photography

    I think anyone who has displayed work in an exhibition can relate to these photographs. The point at which a means of display changes and becomes the subject, and the part most examined, if only by the artist. In this case a crease or slight bend in the photographic paper becomes the main focus, rather than the image displayed on the paper. These photographs of the paper sculptures, fully embrace this transformation and in doing so, make them photographs once again.'Lustre', is a series of twenty photographs exploring the surface of a single sheet of processed chromogenic colour paper. This project stems from the experience of seeing a photographic print rip hours before the opening of an exhibition. My interest lies in the value we assign to printed images, the way photographs are handled and preserved, as a memento and commodity. The material itself is mass produced until an image is recorded onto the emulsion; only when this sheet is developed does it become a meaningful object. Lustre explores our engagement with the photograph as an object, creasing and bending the paper support until an irreversible mark appears, and the flat plane of paper becomes a sculpture. In the absence of an image, the traces left by handling are the only meaningful signs. Re-photographed in large format, the paper is returned to its original two-dimensional form. Its emphatic blankness heightens the ambiguity of photographic space. The white surface, takes on an ethereal quality, the illusion of marks held in tension with the flatness of the image. The expanse of white blurs the distinction between the edges of the paper and the edges of the image, playing with our perception of illusion and reality.

    www.bindivora.co.uk
  • Art. photography. For Example: bindi vora

    08.07.2013

    bindi vora

    photography

    I think anyone who has displayed work in an exhibition can relate to these photographs. The point at which a means of display changes and becomes the subject, and the part most examined, if only by the artist. In this case a crease or slight bend in the photographic paper becomes the main focus, rather than the image displayed on the paper. These photographs of the paper sculptures, fully embrace this transformation and in doing so, make them photographs once again.'Lustre', is a series of twenty photographs exploring the surface of a single sheet of processed chromogenic colour paper. This project stems from the experience of seeing a photographic print rip hours before the opening of an exhibition. My interest lies in the value we assign to printed images, the way photographs are handled and preserved, as a memento and commodity. The material itself is mass produced until an image is recorded onto the emulsion; only when this sheet is developed does it become a meaningful object. Lustre explores our engagement with the photograph as an object, creasing and bending the paper support until an irreversible mark appears, and the flat plane of paper becomes a sculpture. In the absence of an image, the traces left by handling are the only meaningful signs. Re-photographed in large format, the paper is returned to its original two-dimensional form. Its emphatic blankness heightens the ambiguity of photographic space. The white surface, takes on an ethereal quality, the illusion of marks held in tension with the flatness of the image. The expanse of white blurs the distinction between the edges of the paper and the edges of the image, playing with our perception of illusion and reality.

    www.bindivora.co.uk
  • Art. photography. For Example: bindi vora

    08.07.2013

    bindi vora

    photography

    I think anyone who has displayed work in an exhibition can relate to these photographs. The point at which a means of display changes and becomes the subject, and the part most examined, if only by the artist. In this case a crease or slight bend in the photographic paper becomes the main focus, rather than the image displayed on the paper. These photographs of the paper sculptures, fully embrace this transformation and in doing so, make them photographs once again.'Lustre', is a series of twenty photographs exploring the surface of a single sheet of processed chromogenic colour paper. This project stems from the experience of seeing a photographic print rip hours before the opening of an exhibition. My interest lies in the value we assign to printed images, the way photographs are handled and preserved, as a memento and commodity. The material itself is mass produced until an image is recorded onto the emulsion; only when this sheet is developed does it become a meaningful object. Lustre explores our engagement with the photograph as an object, creasing and bending the paper support until an irreversible mark appears, and the flat plane of paper becomes a sculpture. In the absence of an image, the traces left by handling are the only meaningful signs. Re-photographed in large format, the paper is returned to its original two-dimensional form. Its emphatic blankness heightens the ambiguity of photographic space. The white surface, takes on an ethereal quality, the illusion of marks held in tension with the flatness of the image. The expanse of white blurs the distinction between the edges of the paper and the edges of the image, playing with our perception of illusion and reality.

    www.bindivora.co.uk
  • Art. photography. For Example: bindi vora

    08.07.2013

    bindi vora

    photography

    I think anyone who has displayed work in an exhibition can relate to these photographs. The point at which a means of display changes and becomes the subject, and the part most examined, if only by the artist. In this case a crease or slight bend in the photographic paper becomes the main focus, rather than the image displayed on the paper. These photographs of the paper sculptures, fully embrace this transformation and in doing so, make them photographs once again.'Lustre', is a series of twenty photographs exploring the surface of a single sheet of processed chromogenic colour paper. This project stems from the experience of seeing a photographic print rip hours before the opening of an exhibition. My interest lies in the value we assign to printed images, the way photographs are handled and preserved, as a memento and commodity. The material itself is mass produced until an image is recorded onto the emulsion; only when this sheet is developed does it become a meaningful object. Lustre explores our engagement with the photograph as an object, creasing and bending the paper support until an irreversible mark appears, and the flat plane of paper becomes a sculpture. In the absence of an image, the traces left by handling are the only meaningful signs. Re-photographed in large format, the paper is returned to its original two-dimensional form. Its emphatic blankness heightens the ambiguity of photographic space. The white surface, takes on an ethereal quality, the illusion of marks held in tension with the flatness of the image. The expanse of white blurs the distinction between the edges of the paper and the edges of the image, playing with our perception of illusion and reality.

    www.bindivora.co.uk
  • FOR EXAMPLE: FAVOURITES

    01.11.2014

    Art, photography, Louis De Belle

    Louis De Belle

    photography

    29.10.2012

    Art, photography, csilla klenyanszki

    csilla klenyanszki

    photography

    19.10.2012

    Art, photography, quincy scott

    quincy scott

    photography

    11.06.2013

    Art, photography, feiyi wen

    feiyi wen

    photography

    15.07.2015

    Art, photography, Marco Fava

    Marco Fava

    photography

    04.09.2013

    Art, photography, francesco margaroli

    francesco margaroli

    photography

    01.11.2016

    Art, photography, Window.

    Window.

    photography

    26.10.2014

    Art, photography, romeo

    romeo

    photography