View To Scale
View To Scale
Edition of 3
Dimensions: 120.0cm(H) x 120.0cm(W) x 4.0cm(D) / 47.2"(H) x 47.2"(W) x 1.6"(D)
Note: Actual colours may vary due to photography & computer settings.
In his Magnetic Radiation series, Janiak reveals the hidden world of magnetism by photographing ferrofluids. A ferrofluid is a liquid substance magnetized through the introduction of iron particles. Janiak introduced magnetic forces to the ferrofluid, moving the magnets into different configurations to cause the colloidal mixture to assume various forms that reveal the otherwise invisible nature of magnetic activity. The forms reveal ancient forces, those that shaped the universe at its beginning.
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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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