Artist Talk — Hans Bol, Victoire Eouzan, Alexander Sporre
Saturday, 29 May | 45-min group talk | 14.00 – 17.00
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The exhibition Ici, le temps s’étire (Here, where time stretches) features 3 photographers whose work revolves around the concept of time. Presenting the latest series of Hans Bol and introducing 2 new artists to the gallery selection — Victoire Eouzan and Alexander Sporre. Together they offer a kaleidoscopic view onto a feature which regulates, paces, and constructs our lives.
Hans Bol presents his new series White Crow that captures the natural world in the timeless platinum-palladium prints. This old technique that stems from around 1870 provides a warm and gentle tonal range, as well as a three-dimensionality of the image. Since the light-sensitive layer lies directly on the cotton surface, the final image is absolutely matte and velvety. These prints are the most durable of all photographic processes. The metals platinum and palladium are very stable against chemical reactions that might degrade the print, even more stable than gold. White Crow often depicts crows and ravens — an omen of happiness according to ancient cultures and mythologies.
In her project Cette Vue Que Je N’aurai Plus (This view that I’d no longer have), Victoire Eouzan focuses on memories: fragmented, evoked, unintended, borrowed. Can an image strike a memory for a viewer who sees it for the first time? Silkscreened poetic sentences on top of the photographs by Victoire might remind of haiku – lyrical, concentrated and brief. She captures snippets of daily life, playing around with the idea that they eventually are to become memories. How can time be experienced in all of its volatility and elasticity? Can we extend it, not let it suddenly slip through our fingers? Cette Vue Que Je N’aurai Plus is an investigation on this subject.
Another angle on the subject is offered by Alexander Sporre who sees his photography as a by-product of a metaphysical search for reality. His series Parallel Universes of the Self addresses the philosophical — and often poetic — illusion of a knowable and rational self. His photographs, spaceless and placeless, appear in and out of focus like tangible reminders of a dream-like state. Sporre combines analogue methods with digital to abstract the known reality and stretches the borders of what’s visually possible. He investigates reality not as experienced through senses, but as that which transcends matter; a world of timeless and everlasting ideas and forms.