View To Scale
View To Scale
Edition of 3
Dimensions: 127.0cm(H) x 100.0cm(W) x 4.0cm(D) / 50.0"(H) x 39.4"(W) x 1.6"(D)
Note: Actual colours may vary due to photography & computer settings.
Emptiness does not rid things of their content, but constitutes their true nature.
Through the medium of the battle between two fluids, a liquid and a gas, the perpetual struggle of active forces (gravity and fluid dynamics) raises the issue of pure form. What we see only exists on account of its environment. Form itself does not exist per se without the surrounding environment and without the knowledge/information which gives it this form.
“Emptiness is form and form is emptiness. From an absolute perspective, the world has no genuine or physical existence. Therefore the relative aspect is the phenomenal world and the absolute aspect is emptiness [...]. Phenomena emerge via a process of interdependent causes and conditions - nothing exists in itself or by itself. Direct contemplation of the absolute truth transcends all intellectual notions and any duality existing between subject and object.”
Technical note : Live shot and photo-montage, no retouching.
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Based in: Paris
Both natural and sophisticated, Seb Janiak’s photography is constantly on the verge of emotion. He achieves this by the use of forms and codes which need to be relearned. This may seem like a feat but it is, above all, a strange dialogue. We experience, in different degrees, feelings of opening and constriction which are close to pure sensation. And if, as the photographer states, "matter is just an illusion," then his images, in counterpoint, are an illusion of matter; but matter from which the creative artist has nevertheless removed a small corner of the veil. The risk of stagnancy is counteracted by a break-away with no possible return, underscored by the artist’s approach and by the forced flight of photography from its chrysalis. The beholder finds himself caught in a sudden beam of light, like a shell which has been opened by the jubilant skill of the artist who tracks down the "figure" to the ultimate frontiers of the unseen. The photography flourishes in all its fullness through this return upstream. The flat surface commutes into such depth that it appears as an invention. It was only after he had begun the series "Kingdom et Photon" that this approach, focusing on the Unseen, fully penetrated the mind of the artist. Below the chaosmic appearance is to be found a singular art drawn from the very roots of matter and chemistry. The finished work exceeds all archaeological treatises and molecular microphotography. It brings forth the true fullness of what is invisible. It attests to new demands never separated from forgotten fundamentals. In the action of photographing and in the immediacy of the present moment, Seb Janiak sets off a presaging tremor whereby life seems to assume some kind of absolute quality. Our artist may well claim contritely that: "My work simply uses the manifestation of invisible forces - photography is incapable of seeing what is invisible in the way that physicists can"; in his "Photon" series, the prints set off signals from the very depths of both the microcosmic and, paradoxically, the astronomical realms. Everything comes back together: life and death, the real and the imaginary, the past and the future, the top and the bottom, the communicable and the incommunicable.
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