JIM KAZANJIAN ~ Visual Artist ~ Portland, Oregon
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My images are digitally manipulated composites built from photographs I find online. The technique I use could be considered - hyper- collage. I cobble together pieces from photos I find interesting and feed them into Photoshop.
Through a palimpsest-like layering process of adding and subtracting, I gradually blend the various parts together. I am basically manipulating and assembling a disparate array of multiple photographic elements (sometimes more than 50) to produce a single homogenized image. I do not use a camera at any stage in the process.
Limited edition prints available at Jennifer Kostuik Gallery
Jennifer Kostuik Gallery 1070 Homer Street Vancouver, BC V6B 2W9 Canada
Phone 604.737.3969 Email firstname.lastname@example.org
Jim Kazanjian - His work occupies a state of material transience: None of the images qualify as photographs, yet each piece is entirely photographic. Built upon the persuasive testimonies of hundreds of anonymous snapshots, his landscapes are completely fictitious constructions. By recomposing photographs (rather than shooting them), Kazanjian liberates himself from the fastidious burdens of representation. This freedom gives way to an uncanny space that is both familiar and foreign.
Jim Kazanjian received his MFA from the Art Center College of Design in '92. His BFA was completed at the Kansas City Art Institute in '90. He has worked professionally as a commercial CGI artist for the past 18 years in television and game production. Various clients he has collaborated with include: Nike, Adidas, NBC, CBS, HBO, NASA, HP, Intel and others. He currently lives in Portland, Oregon.
I am interested in a kind of - entropic image - an image that has the capacity to de-familiarize itself. My current work is an attempt to unravel the photograph and play with established notions of time and space, notwithstanding our understanding of what gives things context. Through fragmentation and re-composition of the photographic space, the non-linear nature of reading the image is folded in on itself. The structure of the photograph is unwound and reshuffled. This reshaping is an iterative process that spurs a generation of something altogether different; something ineffable.
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