Throughout my career I have been exploring the intersection between art and technology most frequently dealing with issues surrounding photographic representation. My works often reveal the conventions of perception and representation through tensions created by the use of computers and traditional photographic techniques. The photographs included here are of mirrors, paper and tape often adhered to the surface of the mirror taken with a large format camera as they attempt to unpack the structural mechanics of photographic representation.
While the images allude to formal abstraction with various shapes and colors, the photographic nature of the images are emphasized as the image plane is selectively focused and blurred through the use of depth of field. The usually referencelessness nature of abstraction is contradicted by the presence of minute details captured by the use of a large format camera such as dust and scratch marks found on the surface of the mirror or the texture of the tapes used which makes the images photographically real and almost sculptural. These images have a duality (and tension) of being simultaneously abstract and photographically real. Further, as with many of my other works the photographs expresses my interest in the effect of digital technology in photography and its aesthetic. For example the choice of red, green, and blue tape is based on the three primary colors that constitute a pixel. From a far the tapes can be seen as the pixels glowing on the computer screen. While the images are made using primarily traditional photographic methods, they reference the new aesthetic that seems to be emerging as a result of the use of digital tools and technologies. Seen in this context, by always including only the silhouette of the photographer with his camera, the images remind the viewers of the presence/absence of the producer/author and the method in which the images were constructed and bring forth the complex issues regarding authorship in the digital world.
Matteo Sanna “This paradise is not for me”, 2011, wood,iron,plexiglas, 640 x 486 . h da 100 to 300 cm .unique piece. "Round the Clock", Collateral della 54° Biennale di Venezia, Spazio Thetis, Arsenale Novissimo, Venezia. www.matteosanna.it
Gabriel Dawe‘s site specific installations are at once large yet delicate. Myriads of multicolored threads shoot across open spaces like rays of light. An intriguing balance between the installation’s ephemeral atmosphere and the concreteness of the thread seems to transform something about the space it inhabits. At the same time his installations’ resemblance to a loom (albeit, a giant technicolor loom) can not be escaped. Indeed, in his statement Dawe explains that his installations “explore the connection between fashion and architecture, and how they relate to the human need for shelter in all its shapes and forms.” With this in mind, each of his Plexus installations, as they are titled, evoke ideas of clothing as well as shelter and inside space. (x)