Material: digital print on OHP foil, wood, acrylic, aluminum sticks
A photo is printed, scanned, and printed again. This process has been repeated several times on a single image, up to the point that the Imperfect sensors, biased algorithms, and bleeding ink jets create a different representative of the source image.
In this installation, the source image - which the process started with - is attached to the wall and not easily accessible to see. However, the last produced image in this process is the outermost layer is clearly available.
The source image is a photo from a mural painting, taken in a historical house-Boroujerdiha- in Kashan, Iran. The details of the painting are already discarded by the forces of nature. In the center of the painting, there is a portrait of a woman with no face, with no reliable evidence if it was painted so, or if it was censored by the authorities.
Does information live forever? One would tend to answer this question with “yes”, and the reasoning would be that information lives in its own immaterial sphere, that it is ephemeral and ageless.It is not that easy, though.
To be used by us, information has to be communicated. To do so, we introduce it into our imperfect material world, and every process of such communication, using whatever medium is available, alters the information it carries, if ever so slightly.
In these works we see images which are exposed to a dramatically accelerated process of ageing. The paintings on the walls of the famous Borujerdi house already were damaged by forces of nature, and now their representations are introduced into an aggressive environment of hardware and software. Just like the decay of organic material, the images, which now consist of pure information, are robbed off their structural integrity and quickly move to states of higher entropy. Just like wind and weather erode a canyon, like bacteria feast on a cadaver on the forest floor, the net of machines digest this information. Imperfect sensors, biased algorithms and bleeding ink jets create a artificial cultural fever dream, a colorful mould that is crawling over the once masterfully crafted paintings.
Das Ausgangsbild dieser Arbeit ist die Fotografie eines Wandgemäldes an "Boroujerdiha", einem historischen Haus in Kashan, Iran. Im Zentrum befindet sich ein gesichtsloses Porträt einer Frau. Wind und Wetter haben dem Gmälde zugesetzt. Ich habe diese Fotografie gedruckt, den Ausdruck gescannt, das Ergebnis erneut gedruckt, und diesen Prozess 16 mal wiederholt. Dabei haben die Eigenschaften der Geräte – ungenaue Sensoren und Drückköpfe, Rauschen und Kompression – das Motiv immer weiter verändert und seine Information erodiert, bis nur noch ein abstraktes Muster aus Primärfarben übrig blieb.