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THE TOUCH - the revolution in digital photography

VENUS 2010
VENUS 2010
VENUS 2010

Coincidence or not - however in any case an interesting juncture: After the inventor of the photomontage - Raoul Hausmann - had lived in Ibiza, the digital revolution of this technology by Holger E.Dunckel, who also lives on the island, has rung in the revolution in digital photography and the results are shown at "km5"-lounge's gallery and environment from the 8th until 22nd of September.

Hausmann wrote: "I started in summer of 1918 to make pictures with colored paper, newspaper clippings and poster-cuts. But, at the opportunity of a vacation at the Baltic sea, on the island of "Usedom", in a small fisher village, named "Heidebrink", I invented the photomontage." It then was above all Hausmann, Baader and Hannah Hoech, that developed this technology and improved it - and what guided to some latest results in silkscreen-works of Andy Warhol and Robert Rauschenberg. Until today, the photomontage lives from primarily negative forms, details taken out of photographies, that even doesn't seem to present anything known, offering nothing really visible.

Our eye has the inclination to bring certain optical relationships into an accustomed order; it doesn't, or denies to distinguish the variety of the forms, that become only visible, if one loosens the reins of the consciousness. Vision is a social process - we trivialize the things through visual allegory, and in doing so take the many and diverse meanings away from it. The optical organ the EYE is the same, according to its construction like, let's say, in the Middle ages, but with a varying distinction in it's focus of attention, as a result of social consciousness!

One could say that an abyss opens between the usual "seeing" of daily things and the refined present-day "gaze", that learned, is able to distinguish quite new connections, signs and what can be nurtured from every possible negative and seemingly "pointless" form. Our perception is often blind towards the background, the negative area between the things - and it's exactly this perception that allows us to recognize and appreciate the photomontage.

In a type of "Écriture Automatique", Holger E. Dunckel went a step further, into the until now unknown jungle of cybernetic digitality, to explore even further. The components of the compositions keep in movement and in each case only a very instant moment of its temporal state is held in the photo. The subject is in these occasions not grasped in its reality, but is distorted with miscellaneous means. By extreme light influences, up to electromagnetic manipulations, the digital eye is deceived in the same camera, to leave trails like from and to another world. The interventions with the computer are reduced to a minimum and this is the essential thing: Dunckel is really painting with the camera. This way, the images talk to us like a breath of poetry.

The printing method is also revolutionary. Without solvent, the pigments are sprayed in polyester resin with high pressure on aluminum plates and are branded there by uv-rays. So, the photos become non-fading, waterproof and up to a certain range even scratch resistend - a big achievement for photography, especially on Ibiza. The formats are extremely attractive: 60x100 cm, 135x75 cm, 150x90 cm - or 140x100 cm - like the self-portrait, that was already shown in July in the "Palau de Congresos" in Santa Eulalia.

Shown are three variations of the new technique from this year: the flat, traditional montage (THE TOUCH), the spatial composition (VENUS) and the figurative distortion (Marilyn and Mona Lisa). These works are inspired by a statement that Andy Warhol made in an interview in the beginning of the sixties, in which he answered David Bailey, who loved the Monroe-images: "Even better ... you take a photograph of a photograph, that is even better." - But here Dunckel didn't work on the "natural" appearences, he prefered extreme interventions into the digital "nature" of perception. So this represents a development of the "Panorama-Girls", that have been shown until the middle of October at the TV-Tower of Schwerin (Germany).

Furthermore, a "VENUS 2008" variation, that was exhibited already at the Expo-Zaragoza last year and in May/June of this year at the "Museu de la Mediterrania" in Toroella de Montgri/Girona. A classic photomontage - but digital - in a classic frame.

Holger E. Dunckel commented: I got my first camera at the age of 8 years - called in German: "Instrument for slides of light"." In 1993, I had my first photography exhibition. Surface-details that looked like painted watercolors. With the digital photography I got closer to my wish "to paint with the camera." Now the direct, electromagnetic distortion of the camera let "MY" pictures originate. Latest print technology makes them visible. Although I always was pleased with my creative production, I feel that I've supassed myself somewhat with my latest work ... that inspires even me.

Holger E. Dunckel, who is since15 years in charge of the CENTRE CULTURAL DE SANT JOAN,, became one of the most popular artists of this island with his interventions at the "Mostras de Creativitat" - like "Una Isla como un Sofá", "Invierta en Arte" and "Oficina".

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