The work realized through this collaboration, "Here, No Balloon," can be considered an experimental work that anticipates the "sublimation" effect created by the "collision" of the silver halide photographs I have been making for many years and the new digital technology of StareReap printing.
The silver halide photographs form the base of this work were taken on site at historical sites themselves and printed by my own hands to a size of 2 meters. I collaged this balayta print on a rough canvas. That is my usual way of making art.
The important part of this work is the StareReap print applied directly on top of the silver halide print of the landscape photography. The yellow area is composed of numerous images. I photographed the melted objects and layered miscellaneous images on top of it one after another.
At first glance, the yellow areas look like paintings, but they are composed of photographed images. I also emphasized some parts of the image to make it clear that it was created by a digital process.
For me, the point was to make the printing techniques unrecognizable at the first glance; they are not inkjet prints, silkscreen prints, paintings, or any other technology that everyone knows.
My concern was whether StareReap could be printed on the silver halide print surfaces as I imagined.
The yellow areas are composition of photographies and computer-generated results, but there is of course a distance between the image I see on the display and the outcome, the relief that realized by StareReap. To cover the distance between the display and outcome, and ‘how to cook’ to make the artwork much more attractive, I assume this process, ‘how to cook’ is the key to realize these prints.
The technician who was in charge of this cooking this time added a subtle spice to the invisible parts of the artist's work, and finished it with a delicate touch.
I have been working with photography as a subject matter. And as a material, I have been trying to find a way to leave traces of hand work and create them manually by hand. StareReap is, in my point of view, the opposite of that. But the reverse is actually quite curious.
StareReap is characterized by a three-dimensional, materialistic expression. But it is not the same as the physical expression of a painter layering paint. In a sense, it is an industrial technology that can be mass-produced. On the contrary, I think this is one of the interesting aspects of this technique. So could be said that this technology has the potential to create a new genre that lies on the borderline between craft and art, as well as art. Yes, it would be interesting if it leads to the Arts and Crafts movement of the 21st century.