Takaaki Akaishi: Flimsy Stele

I started Waste Park project in 2010. It began from an almost worthless tiny power stone I happened to acquire by chance. Its image has been transformed through a range of formats, such as photography, three-dimensional work and performance in an attempt to keep updating my work without putting an end to it. A series of trajectories, having started from rephotographing photos, developed between two and three dimensions, gradually unfolding its genealogical expansions.


The 8th transformation of the Waste Park project, Flimsy Stele, is based on five objects that I create by dividing an image of the power stone transformed into a simple polyhedron. The objects are photographed, arranged in several patterns, projected onto a stretch film that is originally designed for wrapping, and finally, photographed again. Resulting images emerge out of the projection light beaming through the film easily change their shapes by interacting with the 18 μm material, which is, incidentally, thinner than our retina. It reflects physical interferences happening there, like tremors of the wind, melting, caused by the heat [of the projector light], or elasticity, which enables curving of otherwise purely digital pixel images and capturing their instant formation through a very thin stretch film as the catalyst.


Since the technological progress has transformed photography into data, relocating it to transactions between monitor screens, we have rediscovered the very act of printing as just one of output methods, and reconsidered photography as a physical medium. Paradoxically, this trend also suggests another [opposite] direction in which photography is liberated from restraint of its material origin.


Now, it feels very natural to store and process images on a computer beyond limits of the physical world. We share photography as a means of communication and even express ourselves with non-linguistic tools like emoji. Although online images are subject to quick consumption, they are shared across different axes of time and repeatedly turn back to the latest timeline. This sublimation of photography into data has attracted attention to the medium as a chemical phenomenon, while digital photo devices have diluted the concept of its origin, gradually altering photography into something to be infinitely generated and massively consumed. You can say it's the state in which we find the material conditions of photography today.

Takaaki Akaishi

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