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Seb Janiak

Morphogenetic Field - AB Negative Blood

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Seb Janiak

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Morphogenetic Field - AB Negative Blood by Seb Janiak

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Morphogenetic Field - AB Negative Blood

by

Seb Janiak

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$ 8,500

Overview

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2016

Chromogenic print

Edition of 3

Dimensions: 120cm (H) x 120cm (W) x 4cm (D) / 47.2" (H) x 47.2" (W) x 1.6" (D)

Note: Actual colours may vary due to photography & computer settings.

Artist Statement

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In his Morphogenetic fields series, Janiak examines the visible manifestation of the essence of various substances. Every entity in the universe contains its own signature—a data field containing every physical characteristic, environmental influence, memory, and experience known to it. That is its morphogenetic field. Every dandelion would have a similar morphogenetic field because in addition to containing the information describing each particular dandelion, a universal data set also exists describing dandelion-ness or the essence of all dandelions that ever were. To examine the topic of morphogenetic fields, Janiak employed existing scientific methods of reducing various substances to their crystalline foundation then photographed them in that primordial, crystalline state.

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As Featured In

1 Article

10 French Artists Breaking the Mould

This week The Artling has rounded up 10 French contemporary artists breaking the mold with their artworks. These French artists push the boundaries of contemporary art with works ranging from abstract and geometric to portraiture and nature....

September 16, 2020

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Artist Profile

Born: 1966

Hometown: Paris

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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