20th Century Art: A Different Perspective

20th Century Art: A Different Perspective

View full screen - View 1 of Lot 11. Seated Boy.

Lot Closed

November 11, 02:11 PM GMT

Estimate

2,000 - 3,000 GBP

Lot Details

Description

Tamás Dobos

Hungarian, b. 1973

Seated Boy


signed on a label on the reverse

Gicleé archive print, wet plate technique, edition 2/8; printed in 2014

unframed: 53 by 39.5cm., 21 by 15½in.

framed: 71 by 57cm., 28 by 22½in.

Tamás Dobos is a renowned Hungarian photographer and cinematographer. The present work is from the series Portfolio (see www.tamasdobos.com). Dobos’ photographs deal with layers of perception, and the altering of visual meaning as you approach a picture. Inspired by portrait photography from turn of the twentieth century, the present work was executed using the wet plate process, a technique invented by Frederic Scott Archer in 1851, which has seen a revival as a historical technique in contemporary photography. The choice of image and use of this technique, which allows for image layers to be superimposed onto each other, results in mesmerizing, eerie images, with a slightly ghostly and otherworldly quality.


According to Dobos 'The main concept of my work is to portray the various layers of time, through characters who do not bear typical characteristics of any era, representing timelessness. With the help of the glass negative technique, I have the chance to create the illusion of past, however, if the viewers takes a closer look, they may feel confusion, as they can experience the ubiety of present and future as well. In this universe, time does not have a linear structure, or flows like a river, but it is ever-present. This method of treating time gives space for the imagination, the recipient can go in quest of individual perceptions and beliefs as I myself did when I started to seek my creative voice. In my world, photography serves as a medium for processing past events, traumas, and answering to ontological questions such as, what if we are not located at a single time. As a complementary technique, mirroring helps to deepen these images coming up to the surface from my subconscious. Consequently, one of my main motifs is twins who are not only unique as biological phenomena but can serve as manifestations of transcendence. During the rework phase I leave room for accidentalness, as I do not intend to make strong statements but involve the viewer and invite them for joint thinking.'