CLOUDS AND BOMBS

"In Clouds and bombs, Juan Hein is looking for being precise, to experience one more plastic permission, to create from the existent and from the others but public. He includes in this process the force to the eye-mind. The way how Hein is searching is what determines a possible result, not the image, which can get in and out from the beautification of the horror to the straight and simple beauty. Here the work of capture is about the deconstruction of the first image -from its context and signified- and from its re-location (by aesthetic camouflage or formal similitude) in a mixture that contains the oscillation tension-expansion. Consequently the author's question dies or lives in a perdurable object."

Romina Resuche, curator, from the text for LIMBO

There are clouds and there are bombs. And in between there is the beholder. This series explores the reflection on the act of nature and the human one, on the fact of what means "smoke in space", and the distance and distinction between them from the viewer's point of view.

In the same spirit, it is also an intertwined reflection about the meaning of authorship, the one within it, the original existence of the image and its intention, and the one of the use and function of the photographic image today: The pictures were taken (camera-less) from imagery from the internet (where now "the cloud" lives) and so reinterpreted by investigating the criteria of selection, typology, framing, distance and definition (visual and so, conceptual) from a source and context where originality, intention and authorship are depreciated characters of their renewed and shared reality (now as "raw material").

The conversion of those photographs into black and white, the re-framing and exploration of the evidence of the existent pixel in this new configuration of the image transform the pictures into synthetic abstractions of their first intention, more related paradoxically to a traditional first part of the XX century use and function of photography as "drawings with light".
J.H.



Camera-less captures, digital intervention.
Archival inkjet print on drawing paper. Edition of 3 + 1 AP. Variable dimensions.




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