Untitled 2012 is a series of works that act like drawings or paintings printed on digital transfer film.
The material used, Permajet Digitak Transfer film, is a new material that meets us halfway between the worlds of analog and digital photography. It allows the photographer to print our current digital images on outmoded negative like films, which then can be used in the darkroom to create genuine positive gelatin prints. With this new material, the digital camera meets the analogue darkroom and allows us to produce perfect 'digital negatives'.
In my turn, I used this material with its slippery and confused identity by repeatedly feeding it through an inkjet printer in order to observe and experiment with the ink's interaction with the surface of the digital film. The result is an overprinting of the surface with Photoshop drawn fields of colour.
The resulting work looks like nothing that should be coming out from an inkjet printer, when these machines are built and designed to produce slick and flawless reproductions that 'exceed your vision' where mistakes are not to be tolerated. The work bears all traces and registrations of its production, even the trace of a struggle between the printer and the material - hand marks, drips, streaks, mis-registrations and blurs.
By repeatedly overpinting on the film, an unexpected painterly process is generated. With each piece created, varying states of the printers' head and ink are transcribed. It is a struggle. The track marks of the wheels on wet ink all mixed with the scratches and marks on the prints from falling abruptly onto the floor and being fed back again into the printer show the process that occurred between the printer and the material.
A big part of my art practice investigates and challenges our understanding of the production of the image today , which is evolving dramatically with the fast development of digitisation and networking technology. It aims to interrupt and re-think the image as object and proposes a broad investigation into its everyday and often overlooked wider uses.
My art studio becomes a site of experimentation with the malleability of images as well as the limits of the mechanical processes through which images are produced and circulated daily. My practice looks for spaces of reflection amidst the ever moving, ever increasing sea of images. In light of our present cultural moment of over-proliferation and digital evolution, the 'abstracted' image-less nature of my work could be interpreted as a breakdown of an overall system of image production.
Caline Aoun, 2013