Jaya Pelupessy (b. 1989, NL) uses photography to investigate the medium’s status. Central to his work are the processes that lead to autonomous images; an examination of to what extent the process itself and the visibility of that process strengthens, invalidates, or delivers new autonomous images. Countless ‘loops’ within his own work emerge, within which reproductions are again reproduced. Typical of Pelupessy’s working method is that the creative process is always evident in the finished product. His work is in the collections at FOAM Amsterdam, the Centraal Museum Utrecht, the Netherlands Photo Museum, the Tropenmuseum Amsterdam, the Steenbergen Collection, Amsterdam UMC Collection, the Eneco Collection, the HKU Collection and in various private collections.
Recent exhibitions include a.o. the Centraal Museum Utrecht, the Netherlands Photo Museum Rotterdam, FOAM Amsterdam, Deutsche Börse Photography Foundation Frankfurt, Red Hook Labs New York, Mai Manó House Budapest, C/O Berlin, the Tropenmuseum Amsterdam, FotoForum Innsbruck. His photobook SET-PUT-RUN was selected as one of the Best Photobooks 2016 by the Volkskrant. In 2019, Pelupessy was selected as one of the Foam Talents and exhibited in Amsterdam, London, Frankfurt and New York. Since 2020, his work is in the Gallery of Honour of Dutch Photography at the Netherlands Photo Museum.
For Manufactured Manual, Pelupessy developed a technique for multiple colour exposures on a silkscreen-frame. He creates an image directly on the screen-printing screen, which no longer a means of reproducing images but becomes the work itself. The title refers to the archival images that appear in this series of works. Read more about this project here
In Flatten Image (2019), Pelupessy examines the authenticity and value of reproduction. In a constant stream of images, the photographic print becomes less valuable, and digital manipulations more common. By reintegrating these manipulations into an almost tangible and unique photographic process, the photographic print becomes a unique object again. Looking like layered collages, these works are in fact direct photographs on light-sensitive paper, made with in-camera interventions.
The Studio Sculptures (2017) is a site-specific project divided into four chapters, shown at four different locations at different times: Galerie Caroline O’Breen, Art Rotterdam, Unfair Amsterdam, and Foam Talent in New York. In The Studio Sculptures, Pelupessy continues his exploration into the field of reproduction and takes it a step further into the physical object. For more about this series, click here
Click here for a CV