Lilly Lulay
04 Apr - 18 Jun 2013
LILLY LULAY
Morceaux Choisis
4 April - 18 June 2013
Morceaux Choisis, Lilly Lulay’s second solo exhibition at our gallery, brings together pieces of art which enlighten the artists reflective approach to the photographic medium.
For Coloured Paper, the artist has assembled several sheets of blank, coloured or used paper, with different textures and weights, on a large display board. She then isolated the compositions that stood out of this “ensemble” by photographing them with a reflex camera, following the basics: frame, focal length, and point of view. The numerated files have been developed on photo paper and laminated on alu-dibond. This emphasizes the contrast between the fragility of the materials represented in the picture and the rigidity of the alu-dibond, giving her work a physical existence. In other words, Coloured Paper interrogates the duality of photography; as a trace of reality, and as a copy of it.
The old black and white photographs from the series Zeitreisende (Time Travellers) were originally anonymous clichés the artist had found at flea markets or ordered on the internet. The silhouettes, which are most often at the center of these photographs, have been cut out and replaced by mosaics of coloured pixels. The black and white subject, the iconic value of these old photographs, what they referred to, has therefore disappeared under the essence of colour extracted from the digital photographs. The “traces” they use to be valued as, no longer exist.
By placing the pixels at the centre of the compositions, Lilly Lulay investigates how the world is visually and materially represented today, questioning the postproduction of digital photographs, their circulation, quantity and (de)materialization.
United Colours of Venice, shows 36 fragments of photographs arranged in a display case, similar to the mineral collections you would find in museums. The clichés were taken by the artist during a trip to Venice using the automatic settings of a camera. The cutout details of the picturesque and emblematic Venice as we know it; the varnished pontoons, the colour of the Spritz, the mould on the docks, the marble palaces, etc. leave no room for identifying the content of the original photographs. United Colours of Venice questions the representation of reality, by staging it.
The art work gathered together under the title Morceaux Choisis, interrogate, through observations on the private use of photography, how the evolution of materials modify the representation of reality, all the while having an impact on the way we think and see it.
Morceaux Choisis
4 April - 18 June 2013
Morceaux Choisis, Lilly Lulay’s second solo exhibition at our gallery, brings together pieces of art which enlighten the artists reflective approach to the photographic medium.
For Coloured Paper, the artist has assembled several sheets of blank, coloured or used paper, with different textures and weights, on a large display board. She then isolated the compositions that stood out of this “ensemble” by photographing them with a reflex camera, following the basics: frame, focal length, and point of view. The numerated files have been developed on photo paper and laminated on alu-dibond. This emphasizes the contrast between the fragility of the materials represented in the picture and the rigidity of the alu-dibond, giving her work a physical existence. In other words, Coloured Paper interrogates the duality of photography; as a trace of reality, and as a copy of it.
The old black and white photographs from the series Zeitreisende (Time Travellers) were originally anonymous clichés the artist had found at flea markets or ordered on the internet. The silhouettes, which are most often at the center of these photographs, have been cut out and replaced by mosaics of coloured pixels. The black and white subject, the iconic value of these old photographs, what they referred to, has therefore disappeared under the essence of colour extracted from the digital photographs. The “traces” they use to be valued as, no longer exist.
By placing the pixels at the centre of the compositions, Lilly Lulay investigates how the world is visually and materially represented today, questioning the postproduction of digital photographs, their circulation, quantity and (de)materialization.
United Colours of Venice, shows 36 fragments of photographs arranged in a display case, similar to the mineral collections you would find in museums. The clichés were taken by the artist during a trip to Venice using the automatic settings of a camera. The cutout details of the picturesque and emblematic Venice as we know it; the varnished pontoons, the colour of the Spritz, the mould on the docks, the marble palaces, etc. leave no room for identifying the content of the original photographs. United Colours of Venice questions the representation of reality, by staging it.
The art work gathered together under the title Morceaux Choisis, interrogate, through observations on the private use of photography, how the evolution of materials modify the representation of reality, all the while having an impact on the way we think and see it.