Ea Vasko
In my artwork I keep the focus on questions concerning seeing and perception. My photographs can be often considered abstract – my intention is that viewers can determine the visual contents of her pictures for themselves. I investigate looking as an action, and how looking can be influenced through pictures. Seeing as a function is an important point of departure for my works: How many or how few recognizable elements does our brain need in order to form a complete visual perception? An abstracted photograph rarely stays on the level of abstraction, because one always attempts to find references to reality and the location where the picture was taken. During the experience of looking, an abstract photograph changes from an abstraction into something else – from a detail into a landscape, from the meaningless into the meaningful, from abstract into representational, from surface into space.
I find the subject matter of my works in urban environments. A city space is alluring because of its motion and changeability; it is vast and multiform, but very difficult to perceive. As a space, a city is not absolutely definable. Instead, its character depends on individual experience. The spatial experience has been a very important theme for me in my artistic processes. In my two recent series of photographs I concentrated on the momentary visual and spatial experiences that I have encountered in a nightly cityscape.
Reflections of the ever-changing (the short history of now) is my latest series of photographs that picture reflections in nightly cities. Through photographing the reflections I observe the constant change and movement that is happening in a city space. A reflection has an ability to gather the light surrounding it to one, abstract picture on a surface. I compare them to momentary experiences: The experience of now is fresh, abstract and for a moment, apart from a logical timeline, a history that we tend to build in our heads. The abstraction and a certain kind of unpredictable quality of now is just like the picture seen in a reflection: It is not totally definable yet; it is just a sighting.
The series Defining Darkness (2005-2009) consists of different nightly abstracions photographed from the chaos of artificial light in a big city to the dimness of a private bedroom. As a concept, Darkness is comparable to some sort of uncertainty. Not being able to see could be interpreted as a symbol of not knowing, of not being in control. By night, the artificial light is what we visually depend on to be able to orient ourselves. Some of the objects photographed are scale models that I have built out of paper, plastic and glass.
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Schuberg Philis' engineers are exceptionally talented. So are the photographers whose photos we use to explain what we do for our customers. Every six months we will exhibit new photos on our website.
