Images are fast. They fly and move seamlessly, they occupy a space for a fraction of time and leave almost as though they had never been there. I, on the other hand, am terribly slow. While looking at images I often find myself wondering why this image is here right now? The speed of these images often conceals their logical systems of functionality, structures of production, and algorithms of distribution. I want to make slow images, images that occupy space, drape over frames, resist reproduction, and possess a state self-awareness. The slowness of these objects can generate a medial space to reflect upon the essential structures of production. I believe this medial space makes it possible to create a discourse that examines images beyond what they contain, and question them on the bases of hierarchy, functionality, and movement . Can these objects utilize the apparatus of image production to comment on the extended condition of production? And can this medial spaces become a platform to enable us to imagine alternative possibilities for these conditions?
In creating these photographs I entirely let go of cameras and optical means of reproduction, which also means emancipating photographs from horizon lines or any solid familiar ground. On the other hand, this experimental darkroom process, opens up the possibilities of chance to the surface of the photographs, creating “unpredictable information”. Everything starts with the imagination, of some objects, and systems encountering the photographic surface. Then it becomes an endless negotiations between the propositions, materials, accidents, and constraints of the process. This process also activates a wide range of body behavior, cutting the paper, moving objects in darkness, touching the edges of the table to find my marks, climbing the ladder in the dark to change the dials on the enlarger head, pushing the button. I can see everything now for half a second, yet again, I’m standing next to my table in the dark.
Arash Fewzee was born in Mashhad, Iran. After finishing his bachelor of science in Economics, he moved to NY to attend Parsons, The New School of Design. His work focuses on the relationships between economics forces and art production, artist and institutions, mobility of objects and circulation of images. His work has been exhibited both in New York City and internationally, including most recently at the Beijing International Photography festival, Pingyao International Photography Festival, Pingyao, China; Auckland Festival of Photography art and Contemporary Art, New Zealand; Iranian Artists Forum, Tehran, Iran; And Tyler School of Art in Philadelphia.