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An in-print investigation of and postscript to solo exhibition, Manoeuvres, at MELK Oslo, November 2016.
A mix of portraiture and still life images emphasise the fetishising gaze inherent to the camera but the images are not often readily available for our instant, scopophilic pleasure. As suggested by the exhibition title, different strategies are employed to obstruct the viewer’s effortless consumption.
The exhibited works are reproduced and presented in ways to question and problematise conventions relating to photography as art, the value of the photographic print and the perceived value of its index as communicated through the physical qualities of said print.