"RETOUCH - This proposal stems out of an interest to re-think and translate the material that I’ve worked with for my project Surface Studies (2014) into book form.
Developing 'Retouch', I want to experiment with the ways through which a parallel narrative complementing the actual installation can be created.
In Surface Studies, I tried to pose the photo-image against itself and contextualize it as a hybrid item bound by its own material history.
Trying to step away from the concept of 'image as representation', I instead moved towards the idea of 'image-object as index'.
In doing so, I scrutinized a variety of semantic devices enclosing the item, layers of information such as handwriting, cracks, stains, torn parts and fingerprints. Dealing with such indicators, I used chemical, physical, or optical interventions, as well as pseudo-scientific methods such as graphology. By revisiting these previous attempts and inventing new medium-specific approaches such as layering, transparency and masking, I wish to develop a consistent yet poetic, subtle but multi-layered book that can open up a new way of looking at found photographs as well as the conditions that surround them.
To me the title Retouch resonates on many layers alongside its broader use in image editing contexts.
First of all it refers to deterioration, the touch of time acting upon the image-object. Secondly, it signifies the totality of tactile gestures that this item was subject to such as tearing, folding and inscribing. Finally, it points to the desire of the collector/studier/artist to animate the object anew by transforming it via her/his physical as well as conceptual touch." (Ege KANAR)
About the photographer, Ege KANAR:
"I studied Visual Arts and Communication Design at Sabancı University and worked as a graphic designer before moving to Prague to complete an MA degree in photography at FAMU.
Back to Istanbul, I worked as a research assistant at Bahçeşehir University, Photography&Video Department for a year and curated an independent show called Elsewhere as part of the international event, Mobility and Fantasy in Visual Culture held in 2011.
Since then I’ve been focusing on personal projects exploring photography from an ontological standpoint with particular reference to materiality, representation, indexicality and memory.
Recent shows that I took part in include; Drawing Thoughts / CAM (2015), Reunion / Sabancı Museum (2015), Anyone Could Be A Sculptor One Day / El Hamra Han (2014), Focus:Turkey / Landskrona (2014), Close Quarters / Istanbul Modern (2013), Similarity In Some Respects / 44A (2012)
Developing 'Retouch', I want to experiment with the ways through which a parallel narrative complementing the actual installation can be created.
In Surface Studies, I tried to pose the photo-image against itself and contextualize it as a hybrid item bound by its own material history.
Trying to step away from the concept of 'image as representation', I instead moved towards the idea of 'image-object as index'.
In doing so, I scrutinized a variety of semantic devices enclosing the item, layers of information such as handwriting, cracks, stains, torn parts and fingerprints. Dealing with such indicators, I used chemical, physical, or optical interventions, as well as pseudo-scientific methods such as graphology. By revisiting these previous attempts and inventing new medium-specific approaches such as layering, transparency and masking, I wish to develop a consistent yet poetic, subtle but multi-layered book that can open up a new way of looking at found photographs as well as the conditions that surround them.
To me the title Retouch resonates on many layers alongside its broader use in image editing contexts.
First of all it refers to deterioration, the touch of time acting upon the image-object. Secondly, it signifies the totality of tactile gestures that this item was subject to such as tearing, folding and inscribing. Finally, it points to the desire of the collector/studier/artist to animate the object anew by transforming it via her/his physical as well as conceptual touch." (Ege KANAR)
About the photographer, Ege KANAR:
"I studied Visual Arts and Communication Design at Sabancı University and worked as a graphic designer before moving to Prague to complete an MA degree in photography at FAMU.
Back to Istanbul, I worked as a research assistant at Bahçeşehir University, Photography&Video Department for a year and curated an independent show called Elsewhere as part of the international event, Mobility and Fantasy in Visual Culture held in 2011.
Since then I’ve been focusing on personal projects exploring photography from an ontological standpoint with particular reference to materiality, representation, indexicality and memory.
Recent shows that I took part in include; Drawing Thoughts / CAM (2015), Reunion / Sabancı Museum (2015), Anyone Could Be A Sculptor One Day / El Hamra Han (2014), Focus:Turkey / Landskrona (2014), Close Quarters / Istanbul Modern (2013), Similarity In Some Respects / 44A (2012)
- Format
- Pb., 24 x 36 x 1 cm., 32 pp., 15 color ills., English, Ltd. to 20 copies