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Composition in The Dark No. 4, 2018
unique color photograph
106 x 240 cm

Composition in The Dark No. 6, 2018
unique color photograph
106 x 250 cm

Composition in The Dark No 7
, 2018
unique color photograph
106 x 290 cm

Sfumato, 2018
molton fabric, wood
200 x 200 x 200 cm

Composition In The Dark No. 23, 2018
unique color photograph
50 x 60 cm

Exhibited at SixtyEight Art Institute, 2018

Sfumato takes us into the first evolutionary development of image production - the camera obscura - where images appear in the dark, formed by a tiny spill of light through a hole in the wall. The camera obscura - a premodern discovery - manifests another dimension of reality, than today's destabilised and digital image production, creating new relationships between images - sight and reality - knowledge and validity.

Compositions In The Dark is a series of analogue colour photographs, wherein colour printing’s relationship to darkness is explored. The analogue colour print is, unlike digital inkjet printing, dependent on complete darkness. The series explores colour printings sensitivity to the exposure of light. Images form on paper, in a blink of an eye, where light meets darkness, as explored in the colour theory by Goethe. These large-scale abstract photograms or ‘action paintings’ challenge the rational as an aspect of the analogue photographic process by relying only on the sensory reception beyond sight.

These works speak of a time that no longer exists in more than one way. They speak about the medium of photography that in essence always refers to the past, and they tell about the method of analogue contact printing and the birth of photography itself. Photograms originates from the oldest photographic technique - the contact sheet, and Composition In The Dark, can be seen, with its use of fabric as the material for contacting, to draw references to the early Photogenic drawings by James Fox Talbot, images of imprints of lace on light-sensitive coated paper. Composition In The Dark can also be seen to reference the even earlier experiments by Elizabeth Fulhame where the material she printed upon was fabric and leather.

Photo: Christopher Sand Iversen, Laila Svensgaard