Ives Maes, die als artistiek onderzoeker verbonden is aan KASK en Conservatorium / School of Arts, presenteert zijn werk tijdens een solotentoonstelling bij Parapet Real Humans in Saint Louis (USA). Tijdens de vernissage op 5 juni zal hij er een lezing geven over zijn werk.
Simone Menegol schrijft het volgende over de werken die de kunstenaar zal tonen tijdens The Camera’s Blindspot, 2016:
Ives Maes’ reflection on the relationship between photography and sculpture sets out from Nicéphore Niépce’s Point de vue du Gras (1826), almost unanimously considered the world’s first example of photography. What fascinates Maes about this photographic incunabulum is its material thickness: the support was a pewter plate coated with bitumen of Judea; the exposure process consisted of slowly inscribing the image by combustion, which gave it a physical depth, however infinitesimal. To Maes, it is the most eloquent manifestation of the fact that analogue photography is an imprint; a trace that light carves into a physical substance. These sculptures, whose titles are the geographic coordinates of the places they show (all in the artists hometown), carry this line of thought to an extreme conclusion. The artist took three panoramic photos, 360° x 180° views obtained by putting together multiple shots. Then, using a 3D printer, he translated the photos into actual spheres, in which the shapes (trees, grass, etc.) are actually carved into the surface, varying in depth according to their brightness in the original image. The conversion was carried out using software, without the artist’s direct intervention, just as in analogue photography (in an even more autonomous way, since the technique is more basic), it is the image that takes shape by itself on the negative.