work
Polaroid – Ceci est une Caméra
| category | Installation |
| subject | Human figure, Abstract |
| tags | Digital Art, Warhol, Surrealismo, Arte concettuale, Magritte, Pop Art, Polaroid |
| base | 50 cm |
| height | 50 cm |
| depth | 5 cm |
| year | 2019 |
Screen printing on plexiglas, eink display, reflective film, one-board computers, camera module, batteries and external power supplies. Multiple: 10 pieces.
Polaroid has many physical and conceptual layers.
A device composed of a small camera module, a single-board-computer, wifi module and batteries, is hidden behind a silkscreen print on plexiglas and a reflective mirror film. Everything is embedded in the space of a standard frame for pictures. A custom-built AI-based software application running on the onboard computer analyzes the frames and categorizes them by gender and mood detected (These informations will determine the title of each photo). Once the photograph is taken, it is displayed (with its own title) on a eInk screen mounted on another frame and placed on the wall near the main piece.
The reference to Magritte's "La Trahison des images" in the title is clear.
«And yet, could you stuff my pipe? No, it's just a representation, is it not? So if I had written on my picture "This is a pipe", I'd have been lying!».
In this case instead, the instant camera in the piece is not merely a representation, but is the real object itself and, possibly, even more. It has changed its design but it has kept all of the qualities that make it an instant camera. Thanks to technology, electronics and software programming, the representation becomes only the trick used to hide and disguise the object itself. This internal mechanism is not used to self-destruct the work (Banksy) but instead allows it to automatically generate something new.
The piece, from being observed, starts observing and creating on its own.
Polaroid has many physical and conceptual layers.
A device composed of a small camera module, a single-board-computer, wifi module and batteries, is hidden behind a silkscreen print on plexiglas and a reflective mirror film. Everything is embedded in the space of a standard frame for pictures. A custom-built AI-based software application running on the onboard computer analyzes the frames and categorizes them by gender and mood detected (These informations will determine the title of each photo). Once the photograph is taken, it is displayed (with its own title) on a eInk screen mounted on another frame and placed on the wall near the main piece.
The reference to Magritte's "La Trahison des images" in the title is clear.
«And yet, could you stuff my pipe? No, it's just a representation, is it not? So if I had written on my picture "This is a pipe", I'd have been lying!».
In this case instead, the instant camera in the piece is not merely a representation, but is the real object itself and, possibly, even more. It has changed its design but it has kept all of the qualities that make it an instant camera. Thanks to technology, electronics and software programming, the representation becomes only the trick used to hide and disguise the object itself. This internal mechanism is not used to self-destruct the work (Banksy) but instead allows it to automatically generate something new.
The piece, from being observed, starts observing and creating on its own.
