The work in progress Outsider’s Art (Pins) originates from artist’s interest in perception and cognition and is articulated in form of constructed photography. A selection of photographs from a personal archive is used as material for fabrication. Digital and analogue photographs and scans, were when necessary digitalised, projected and re-photographed. This autotelic game tracks interactions between intended and overlooked, with a nod to selective mechanics of perception and social behaviour.
The starting point for Pins was an observation of socially learned practice of spectatorship made at a public slideshow. Displayed images seemed to be conceptualised and perceived as an idea, invincible to interactions with its immediate surroundings. The subject of the slideshow was a collection of archival portraits, reworked by an artist. A board used for projection was full of pins, left there by chance. The resulting images showed serene, posing sitters, stoically undergoing torture of pins in the pictorial tradition of martyrdom. The audience seemed to consensually cut out this portion of visible information, ignoring the visual background noise. The discussion of merits of intended photographs, which they have never really seen did not touch the truly displayed images, ignoring a poignant albeit unwitting installation.
This works takes the serendipitous installation as a starting point and explores what becomes of image as a result of similar encounter. Projecting photographs onto everything but plane surface induces a transformation, fusing a backdrop with an image. A support takes an equal role to a projection itself. An obstinate background is stubbornly literal – it is what it is and stays itself, whereas an image stands for a figurative proposition, shimmering between its old and new incarnation. Remaining faithful to a language metaphor, it is a dialog or an argument- with one side upholding its position and the other fluctuating between old and new – which replaces a statement of an image.
Compositions of pins on each image are deliberate, precluding presentation of this work in a form of a slideshow on a board with pins. Besides, prints celebrate the fleeting moment of recognition and reflection captured and solidified in the most revered tradition of photography.