honorable mention
Ole Brodersen norway
title
Horizontal Displacement
Walter Benjamin claimed that photography was in a special position when it came to reproducing the original and authentic. The photograph could, in fact, "by means of methods such as magnification or fast exposure, retain images which simply evade natural optics." The ability to see the invisible through photographic technology has resulted in a unique interplay between human and mechanical optics - an interplay dominating several scientific fields.
My most recent project consists of high ISO film and waterproof cameras. The result is large grainy images that bring the viewer close to the natural forces of the sea. Aesthetically, these images refer to pointillism, which is based on the idea that the spectator's sense of sight does not perceive the dots separately, but automatically puts them together into a whole. In this way, the mechanics of the human sense of sight also play a decisive role in how the landscape and the forces in this are finally understood.
Time will continue to characterize our landscapes, and the experience of being a given place will thus also change over time. This, even though man's natural sensory apparatus is too little fine-tuned to register that it happens. Landscape photography can thus be understood as a communicating marker for changes in nature. And the interplay between human and mechanical optics makes visible not only these changes purely referentially, but also human‘s shortcomings and its consequences.
Walter Benjamin claimed that photography was in a special position when it came to reproducing the original and authentic. The photograph could, in fact, "by means of methods such as magnification or fast exposure, retain images which simply evade natural optics." The ability to see the invisible through photographic technology has resulted in a unique interplay between human and mechanical optics - an interplay dominating several scientific fields.
My most recent project consists of high ISO film and waterproof cameras. The result is large grainy images that bring the viewer close to the natural forces of the sea. Aesthetically, these images refer to pointillism, which is based on the idea that the spectator's sense of sight does not perceive the dots separately, but automatically puts them together into a whole. In this way, the mechanics of the human sense of sight also play a decisive role in how the landscape and the forces in this are finally understood.
Time will continue to characterize our landscapes, and the experience of being a given place will thus also change over time. This, even though man's natural sensory apparatus is too little fine-tuned to register that it happens. Landscape photography can thus be understood as a communicating marker for changes in nature. And the interplay between human and mechanical optics makes visible not only these changes purely referentially, but also human‘s shortcomings and its consequences.
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entry description
Sea and air appear immutable and ordinary in their essence, even though they are essential to all life on earth. In art, the nature of the elements can also appear as recognizable, and the experiences the viewer has from different landscapes are included in the encounter with a landscape image. In this meeting, experiences and established knowledge can both be confirmed and problematized.Walter Benjamin claimed that photography was in a special position when it came to reproducing the original and authentic. The photograph could, in fact, "by means of methods such as magnification or fast exposure, retain images which simply evade natural optics." The ability to see the invisible through photographic technology has resulted in a unique interplay between human and mechanical optics - an interplay dominating several scientific fields.
My most recent project consists of high ISO film and waterproof cameras. The result is large grainy images that bring the viewer close to the natural forces of the sea. Aesthetically, these images refer to pointillism, which is based on the idea that the spectator's sense of sight does not perceive the dots separately, but automatically puts them together into a whole. In this way, the mechanics of the human sense of sight also play a decisive role in how the landscape and the forces in this are finally understood.
Time will continue to characterize our landscapes, and the experience of being a given place will thus also change over time. This, even though man's natural sensory apparatus is too little fine-tuned to register that it happens. Landscape photography can thus be understood as a communicating marker for changes in nature. And the interplay between human and mechanical optics makes visible not only these changes purely referentially, but also human‘s shortcomings and its consequences.
about the photographer
Sea and air appear immutable and ordinary in their essence, even though they are essential to all life on earth. In art, the nature of the elements can also appear as recognizable, and the experiences the viewer has from different landscapes are included in the encounter with a landscape image. In this meeting, experiences and established knowledge can both be confirmed and problematized.Walter Benjamin claimed that photography was in a special position when it came to reproducing the original and authentic. The photograph could, in fact, "by means of methods such as magnification or fast exposure, retain images which simply evade natural optics." The ability to see the invisible through photographic technology has resulted in a unique interplay between human and mechanical optics - an interplay dominating several scientific fields.
My most recent project consists of high ISO film and waterproof cameras. The result is large grainy images that bring the viewer close to the natural forces of the sea. Aesthetically, these images refer to pointillism, which is based on the idea that the spectator's sense of sight does not perceive the dots separately, but automatically puts them together into a whole. In this way, the mechanics of the human sense of sight also play a decisive role in how the landscape and the forces in this are finally understood.
Time will continue to characterize our landscapes, and the experience of being a given place will thus also change over time. This, even though man's natural sensory apparatus is too little fine-tuned to register that it happens. Landscape photography can thus be understood as a communicating marker for changes in nature. And the interplay between human and mechanical optics makes visible not only these changes purely referentially, but also human‘s shortcomings and its consequences.
back to gallery