┐ William Miller └

@ William Miller, NRuined Polaroid #45

@ William Miller, Ruined Polaroid #50

“I think think that this project was more of a realization than an idea. I bought this old Polaroid SX-70 camera at a yard sale two summers ago. Right away I realized the camera wasn’t functioning properly. It sometimes spilled out 2 pictures at a time and the film would often get stuck in the gears, exposing and mangling it in unpredictable ways.

It turned out the camera just couldn’t produce good photos, but that’s when Miller had an idea to work with that. “Before long I was participating in its process, collaborating with it,” he says.

Ruined Polaroids is the series that emerges, a series of, well, ruined Polaroids that have lovely abstract colors and textures that paint a subtle aesthetic. The results are unpredictable, but Miller harnesses that into foreign landscapes and abstractions. It’s a great way to remix an a nonfunctioning analogue tool and to find a new function: art.

“What I find most appealing with the Ruined Polaroids project,” he said, “is that in this age of digital photography I’m taking this technology from the 70s and through a process making it look like paintings from the 40s.”

excerpt from article by An Xiao taken from Hyperallergic

More of Miller’s work here

┐ Jakob Hunosøe └

@ Jakob Hunosøe, Thermos placed on lamp , from the series Out of Order, 2012

framed, 46,5 x 46,5 cm, Archival Fiber Print, edition of 5

@ Jakob Hunosøe, Tin pot and ceramic pot touching electric kettle on plate , from the series On Things Ordinary, 2010

framed, 46,5 x 46,5 cm, Archival Fiber Print, edition of 5

Rather than objectively exposing the surroundings, Hunosøe uses the photograph as a means of rewriting reality. With simple artifices such as reflections, additions and unexpected combinations, he adds a poetic, surreal dimension to his motifs. The photograph becomes an instrument enabling us to look at the world with different eyes and to uncover new meanings in our immediate surroundings.

Each photograph is based on a clear idea explained in prosaic titles such as “2 x 2 meters of garage objects” or “Mirrored glass of water, coins and used napkin on table.” The intention of the stagings is neither to seduce nor to convince the viewers, seeing that the titles expose the often simple artifices on which each picture is based. Hunosøe’s pictures can be seen as one long series of attempts. The “pseudoscientific”
attempts are not meant to lead to a certain result; rather, they are created in their own
right.(…)

excerpt from text by Marie Laurberg; continue reading here

His work here