Jeremy August Haik is an artist and writer. His work has been exhibited most recently at Aperture Gallery, New York; Unseen Photo Fair, Amsterdam; Newspace Center for Photography, Portland; Cindy Rucker Gallery, New York; PCNW, Seattle; Michael Matthews Gallery, New York; The Camera Club of New York; and Guest Spot, Baltimore.
His writing and photography has been published in print and online most recently by Conveyor Editions, Mt. Figure, Der Greif, and Baxter St. CCNY. He recently published his first book Permanent Constructions with Brooklynbased Silent Face Projects. He lives and works in Brooklyn
A Unique and Non-Repeatable Science is a photographic study based in the imagery of science, history, and the human body. Using specialized studio lighting to eliminate reflections, I arrange compositions that have the illusion of a perfectly flattened, non reflective surface. By taking advantage of controlled studio lighting and photography’s single point perspective, the solid fields of colors and hard lines often mimic the look of a digitally generated image.
However the occasional shadow or stray reflection are a clue that these are,
foremost, traditionally made photographs of objects in my studio. My interests lie in using photography’s documentary capacity, and the limitations of its two dimensional vision to explore the way the scientific mind bumps up against the instinctive and mythological elements of human nature.
foremost, traditionally made photographs of objects in my studio. My interests lie in using photography’s documentary capacity, and the limitations of its two dimensional vision to explore the way the scientific mind bumps up against the instinctive and mythological elements of human nature.
In this series, each image is the product of experimentation with washes of colored light, arrangements of printed photographs and diagrams, and the materials of analog photography (polaroids and 4x5 negatives). The camera is mounted overhead and the process of photographing the composition is controlled through the computer; I usually don’t touch the camera at all. Removing my hand physically from the actions of the camera is an analogue of the attempt at scientific objectivity, but which also allows my biases as an observer to come into play.
This blending of chance and intention in the way these images are constructed reflects my interest in the pliant nature of knowledge and historical narrative. By looking at small details and the physical characteristics of the collage elements, the subtle influence these material qualities have on the message they hold becomes more visible. In my work, I am examining the influence of this material container — text, diagram, paper, or photograph — on the meaning it holds, and suggesting the possibility of alternative narratives through photography.
This blending of chance and intention in the way these images are constructed reflects my interest in the pliant nature of knowledge and historical narrative. By looking at small details and the physical characteristics of the collage elements, the subtle influence these material qualities have on the message they hold becomes more visible. In my work, I am examining the influence of this material container — text, diagram, paper, or photograph — on the meaning it holds, and suggesting the possibility of alternative narratives through photography.
