Human Dilatations_Compositions, Suspension and Monoliths are a glimpse of the lack the contemporary human being, bared of the two elements that distinguish his quest: the physical perfection and the actual power/role of the mind. Each image represents a body whose proportions are partially distorted and prevails over a head that dissolves, without leaving a trace.

My path began with the approach of the image of women of our times has been reduced to a pattern, a combination of codes and models that lead to the woman/individual instead of the other way around. Human Dilatations does not fear the marks of frailness of the body and its imperfections but rather encourages the female image to appear as a whole: a shape by itself, in a game of distortions that allows one to differently relate to the image, entirely detached from the stereotypical and hypocritical notion of beauty.

My challenge is to seek the essence of the female being in a dimension that goes beyond the logos, through my vision – the one of a male. In order to do so I referred to the Neolithic as a starting point. The symbolism of the Godded  and the mystery around life, death and regeneration. A cycle represented by a large complex of symbols, which survived over millennia of time, and present even before the patriarchal religions. When analyzing the small statues (made of bone, stone or terracotta) dating back to the stone age I immediately perceived their pure essence and fragility.

 

 

Printing technique

The whole Suspension large format serie is realized with the Gum bichromate photographic printing process.

Gum bichromate printing is a multi-layered printing process of the 19th-century and involves creating a working emulsion made of three components: Gum arabic, a dichromate (usually ammonium or potassium) and pigments.

The emulsion is spread on a support, such as paper, and allowed to dry. A negative is then laid over top the emulsion and exposed to a UV light source. Usually a contact printing device or a sheet of heavy glass to ensure even, constant contact is employed. The light source will harden the dichromate in proportion to the densities of your negative. After exposure, the paper is placed in a series of plain water baths and allowed to develop until the unhardened portions of the emulsion have dissipated.

 

 

Exhibited at:

Suspension, Deutsch-Amerikanisches Institut, 2004, DAI Heidelberg, DE.

Curated by Jakob J. Köllhofer

h01

Suspension, Gum Bichromate Print, 2004

 

 

 

 

 

 

Sp001-002PH

h03

2004

Gum Bichromate Print

130 × 45 cm

Collage of 19/12 photographs

 

 

 

 

 

 

Sp003PH

h04

2004

Gum Bichromate Print

70 × 130 cm

Collage of 12 photographs

 

 

 

 

Sp004PH

h02

2004

Gum Bichromate Print

100 × 130 cm

Collage of 38 photographs

 

 

 

 

 

Sp005PH

h05

2004

Gum Bichromate Print

130 x 100 cm

Collage of 9 photographs

 

 

 

 

Sp006PH

h06

2004

Gum Bichromate Print

100 x 100 cm

Collage of 90 photographs

 

 

 

 

 

 

Sp007PH

h07

2004

Gum Bichromate Print

100 x 130 cm

Collage of 46 photographs

 

 

 

 

 

Sp008PH

h08

2004

Gum Bichromate Print

100 x 100 cm

Collage of 27 photographs

 

 

 

 

The Project 

 

 

 

 

 

 

_MG_9895

 

 

 

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