PAINTINGS FOR SCREENS
Photos that do not document artworks but can be perceived as artworks within a screen-mediated encounter.



Station, 2015, digital photograph (of a sourced pierced print test).

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Painting (3), 2015, digital photograph (of a sourced cut print test).

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Alchemic, 2015, digital photograph (of a sourced cut print test).

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Reflection, 2015, digital photograph (of a collage of two sourced cut print tests).

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Painting (2), 2015, digital photograph (of two digital copies of the same photograph assembled).

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To explain in which sense these paintings are for screens a broader argument is required. It should be considered that the digital screen mediation of images unconsciously triggers in the viewer a suspension of judgment on their size and dimensionality. However, such a perceptual habit is residual of a logic – that of image reproduction – which does not actually apply to the current hi-res digital technology of image storage and display, where the original/copy divide has lost its meaning. In this series such a simulacrum effect plays a key role, as these paintings do need the screen mediation to be encountered immediately.
This is the case either because they present holes that would appear as flat if proposed as printed originals (Station, Painting (2)), or because the printed photographs from which they derive feel small in person (Station, Painting (3), Alchemic, Reflection).

Here painting is any artwork that can be faced all at once.



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