Inkjet on hahnemühle 325gsm fine art baryta paper
Edition of 6
Dimensions: 150cm (H) x 100cm (W) / 59.1" (H) x 39.4" (W)
Note: Actual colours may vary due to photography & computer settings.
THE PAST IS JUST A STORY WE TELL OURSELVES #31. “2/4/2020 Volunteers in protective suits disinfect a railway station in Changsha, Hunan province, China. cnsphoto via REUTERS”
Photography. 150 x 100 cm. Ed of 6 + 2 AP.
Since the start of the pandemic that I’ve collected images from the REUTERS website and, after some time, all seemed the same: people in masks, people in hospitals, plastic containers... I decided to question the status of these images with their apparent repetition and similarities. I printed these pictures with an A4 inkjet printer on acetate paper inspired by the elements in many of them. The ink kept its fluidity when printed on acetate - the original image was not perceptible anymore. The next step was to press them to another acetate, and sometimes another, to create a metaphor for contagion. The prints were left unmoved for the equivalent time of the incubation period of the virus of 14 or more days. - some prints kept changing while others faded. A scan of the resulting dry prints was made - a metaphor for medical and scientific research procedures. The final move was to print the resulting digital files as large prints with plexiglass face mounting. These works subvert and question the photographic medium and suggest transience and hybridity. The title of the series implies that memories are what we decide to make of them. The title of each piece is the caption of the transformed source Reuters picture.
Based in: Shanghai
JOSÉ DRUMMOND is a Portuguese artist currently based in Shanghai. His research-driven practice is an enigmatic, elliptical, and poetic investigation of the space in-between cultures and in-between mediums. Understanding the studio both as an experimental lab and archeological site, where questions on displacement, transience, and fragmented identities arise, Drummond combines and re-arranges visual and textual references from a wide-ranging personal canon, creating speculative memorabilia in a variety of materials, to catalyze a multiplicity of new open-ended meanings that challenge and disrupt the viewer's experience with the works.
2015 MFA in Creative Practice from the University of Plymouth (UK) and the Transart Institute in New York (USA). 1986/1994 At. Re - Atelier Livre with professor Pedro Morais (Portugal). 1987/1990 Foundation courses in Painting and Drawing in Ar.Co and SNBA (Portugal) - not completed. 1989 Scenography in IFICT (Portugal). 1999 Management of the Arts in IEEM (Macau). 2016 Sovereign Asian Art Award finalist. 2011 Asia Pacific Photography Prize finalist. Scholarships from the Orient Foundation (Portugal), the National Centre of Culture (Portugal), and the Cultural Institute of Macau (Macau). 1996 ARCO Madrid promotional image. 2016 Transart Triennale (Berlin). 1992 Biennial of Young Artists From Europe and the Mediterranean (Valencia).
Director of ZÌZHÌ -- multi-disciplinary contemporary art research platform. Director of VAFA -- Macau international video art festival. Director of XA – Xiang Art -- multi-disciplinary curator platform. Curatorial initiatives explore the bridges between China and the West, eco-conscience, technology, and intermedia works. The most significant contributions include Where is China? -- presented simultaneously at the Millennium Museum in Beijing and the Orient Museum in Lisbon; China? Faraway So Close -- presented at Lyon Art Fair, VAFA 2014, and VAFA 2016 -- presented at the Oriental Foundation in Macau. He has worked with John Baldessari, Lawrence Weiner, William Wegman, Harun Farocki, AES+F, Miranda July, Song Dong, Yin Xiuzhen, Zhang Huan, Cui Xiuwen, Wang Qingsong, Xing Danwen, Hong Hao, Chen Shaoxiong among others.
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