So you are friends with camels.

So I am not so much interested in oppositional relations within my work. Of course there exists a border between different realities. Within my research on the doppelganger motif I merely focused on how the doppelganger relates to its protagonist and how both of them co-operate. The visual aspect of resemblance propels a moiré kind of effect which switches between these possible realities. Apparently time enforces itself on how to perceive which truth. For me this means accepting this fluidity, not only as an intuitive part of my practice but also within the formal aspects of my work. Meaning and images often have difficulty to coexist. One could say that an image can do without meaning and this would conclude to an image of emptiness. I like to see this situation as a ‘hold’ in time.
Perhaps one perceives an image differently ‘in time’ as we take more time or the image takes more time. If this happens all that was before falls away and meaning is searched for, probably enclosed within ourselves, definitely if it is given but not necessarily. This resonating is variable in depth and amplitude. I find this an exciting condition. It bears a reality not only of effect but also of ‘letting go’ and if you want to catch it it’s already in your hand.

In ‘What to Do with Pictures’ (1) David Joselit adds two sides to the effects used by Seth Price.
‘First, “special effects,” as practiced by Hollywood cinema, render narrative as pure motion - often a virtually unbroken trajectory initiated in the opening scenes of a film and coming to rest only with the last credit. Blockbuster plots are no more than conventional grids: what matters are the texture, velocity, and point of view with which spectators are carried through a standardized sequence of events. Such movies are not so much watched as navigated - like computer games where motion is frictionless, continuous, and defiant of gravity. The “effect,” as Hollywood renders it, is almost pure transitivity in the absence of a direct object (unless that object is the spectator herself).
Second, effects are literally a posteriori. They are, to put it plainly, consequences that cannot be fully anticipated during the phase of aesthetic production.’

As a painter I like to work with these situations and processes and examine their formal properties and their possibilities of meaning. The iridescent effect of pacified steel has similar a posteriori qualities. This effect is especially vibrant when used on smooth flat surfaces. Round and bended surfaces will because of its zinc under layer react mirror-like.

Just Quist february 2014

(1) 'What to Do with Pictures?' by David Joselit published in October magazine 138, 2011