SURREAL LANDSCAPE, 2016-2019, film photography.
Surreal Landscapes use the medium of photography to look at the ways of seeing. The vision of nature presented in the series are textural. Framing abstract forms in nature, an emphasis of materiality of image is presented. This materiality becomes mirrored in the psyche by the field of vision. Aesthetic relationships stir ethical conversations on the relationship between humans and nature. Using the distinct qualities of imaging technology by enhancing the scanner’s interpretation of film, the photographic image becomes the technocratic age’s take on pointillism. The tradition in painting transferred into contemporaneity, invites the viewer to open to the various methods in which an image can be read and understood while relating to values of beauty and landscape as principles guiding emotional and behavioural choices related to the environment.
In a Streambed a Body Formed In the Light Refracted from Waves & An Apophatic Knowing of Water.
Uncanny and sublime, the exposures were made with a rangefinder camera at the edge of the Akerselva River. The river running through Oslo, Norway, provides sources of energy and revival for the city. The physical nature of the river and psychological nature of image making overlap within the image reflecting the surrounding landscape refracted in the waves.
The colour pigments are enhanced from the Kodak Gold profile. The film noted for popularity in the regular market ties the sublime qualities in the everyday subject to the everyday material. The tones are often noted for warm and magenta colour casts. Magenta is understood to be the colour that does not exist on a frequency wavelength; the colour is one humans make up with their minds. Amber is a resin with a relationship to the electron in that it can be slightly negatively charged.
