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Robert Olsson

Xenophobia

$750.00

Xenophobia
Photograph
30 x 42 inches framed 

Artist's Statement
Adjacency
Finding commonality between all things is my aim. I forage, arrange and photograph abandoned objects. I place these objects in a studio setting and assess the resulting shots. The images suggest various cultural, psychological conditions as well as relationships between people. I like to construct a combination of items, which can generate distinctive images. It’s nice to engage the details to spawn new meanings. Man- or machine- made things join together to make the picture more articulate. Manufactured items seem to resemble humans and Mankinds issues appear mechanical. As objects they are a human story of how years of work have rendered them back to their original elements. Like machines, Mans’ efforts wear or deepen over time. The involvement to make and define progress helps Man find what he is looking to achieve.

Workflow and Process
I find worn and disintegrated things and combine them with other objects of interest. I photograph them into large scale images. I seek once useful items now deteriorated into a state of uselessness. Often they’re almost unidentifiable or completely unrecognizable compared to what they were. Most people would walk past common materials and fragments without consideration. My photographs are not a random group of old parts. These components of a larger unknown assembly carry a different narrative purpose. Shot in a studio setting, these images are sharply focused using fine lenses. Controlled lighting and a high resolution camera sensor renders more detail into the finished image. A gift of sharpness to an unworthy deteriorated subject is contrary to how we regard junk. When objects present in a large scale, there is fresh attention given to this detritus. By magnifying the rich textured colors, there is repurposing of the waste. I adhere to the shot details and post-production process. As a result, I am able to extract discernible information from chaos. I use a tripod at close focal distances with a focusing rail, as there are sometimes >60 image layers combined to make an entire (e.g. 80mm deep) object in focus. Software selects the portions of each shot in focus and auto-merges them into a single image. The black background serves to guide the viewer’s attention to make these objects iconic. These same objects would take on a different perception on a roadside environment. The photographed images sometime look clinical when compared to the original 3D object. The transformed two-dimensional glossy oversized photograph is now viewed as some intimate reinvention.

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Artist also accepts commissions. 
Please contact Art Show: Bedford for more information.