|
Photographic Prevarications Richard Koenig For many years I have been
working with pictures that I re-photograph in some fashion or another, suggesting
a form of meta-photography, or tautology. I use this duplicative tactic as a
way of exploring the inherent tension that exists within
photography—provided by its capacity to both depict and deceive,
concurrently. In the work called Photographic Prevarications, space,
planes, and objects are presented in such a way as to underscore photographyÕs
ability to tell untruths. In this way, I want to urge the viewer to question
the nature of photography itself—by making them aware that they are
looking at, and perceiving, a photograph, not looking at the subject matter of
the photograph.
~ ~ ~ This work began as a small
series made in the corner of a gallery (see below). Here, paper prints taped to
the wall of the gallery, when viewed from a privileged point of view, can
deceive the viewer. They give the idea that objects, such as a framed picture,
or my body, can penetrate a wall and extend to the space beyond—or tilt
in such a way that is incongruent with the confines of the room.
I continued this technique
when I went to a residency at the American Academy in Rome (see below). In this
series a faucet, radiator, or wall sconce was photographed, then reproduced as
a paper print after being carefully distorted in Photoshop. Taped to the wall
in a different location and re-photographed in
situ, these objects appear to defy the limitations of the roomÕs floor
plan.
The work took a different
tack a few years ago when I photographed objects or my body in a space, then
recreated them in paper form, installed them, and once again photographed them in situ. With the work in Rome, the
placement of the objects was designed to defy the roomÕs space—here they
are more logical, being reproduced where they in fact did exist (see below).
I am currently making work
that exists as single photographs, documents if you like (to be placed in a
frame and exhibited), but can also be exhibited as large paper installations
(see below). In this case, viewers will be encouraged to walk around the
gallery and find the privileged point of view for themselves. Related to this,
I am also combining objects and images, with Chairs.
By using these tactics, by emphasizing
the tension that exists within photography, playing up its ability to
dissemble, I have moved its emphasis from transparency to trickery. This in
turn posits the viewer at a point where depiction and deception meet—and
hopefully leaves them teetering between the two. Richard Koenig |
