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Juliana BorinskiSurfaces of plateau (1001 pictures) - scanographies 003

Confirmed artist
Photography
From a limited edition of 3 | Framed and Ready to Hang
50 W x 60 H cm
$1,628
Recipient of the dedication:

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Technique
Digital photography
Type
Limited edition of 3
Material
Cardboard
Dimensions
50 W x 60 H cm
Framing
Yes (52 W x 62 H cm)
Quality Guarantee
Sold with a certificate of authenticity

Surfaces of Plateau (1001 pictures) scanographies (2011-2019) takes as a reference the physicist Joseph Plateau (1801-1883) who, according to legend, lost his sight after looking at the sun with the naked eye for 25 seconds at a time. In his scientific writings, Joseph Plateau describes, among other things, his observations on the afterimages produced by sunlight on the retina.

Interested in the ways in which images appear, Juliana Borinski follows in the footsteps of Joseph Plateau's research, giving it a poetic and plastic dimension. Playing with effects of transparency, light, imprints and reflections, this series composed of photograms and scans takes into account the complex and geometrical structure inherent to any luminous prism.

Juliana Borinski
France
Confirmed artist
  • KAZoART artist since 2021
  • 38 works

Juliana Borinski is a German-Brazilian artist based in Paris, France. Her art has been exhibited internationally in contemporary art centers and museums since 2006. Working with still and often camera-less images (photography) and moving images (film, installation, video), she experiments with the conjunction between iconography and iconoclasm. Juliana's work explores various media issues through an analysis of their primary resources: chemistry, matter and devices. When working with photography or film, Juliana Borinski almost never uses a camera. She creates images, usually abstract, by directly using photosensitive paper or film to explore their aesthetic and technical capacities. What should only be a receptacle for the image, its support, becomes the very material of her work. Juliana Borinski looks for error, lack, chance. She voluntarily places herself at the margin of the systems she exploits, the visual media, taking care to avoid the image in the usual sense and the new technologies, to privilege the "almost nothing". This unconventional practice is also reflected in the fact that each piece is unique, at a time when copying an element only requires a single click, and when her working tools are photography and cinema, the heroes of technical reproducibility analyzed by Walter Benjamin.

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