Homeless/Epson project

CATEGORY / Texts AUTHOR / adm1nf1l DATE / January 17, 2018

Four artists, (Alexandar Rasulić, Filip Matić, Camilla Wærenskjold and Casper Evensen) of diverse origin, showed their graphic works in Oslo. The starting point for this project was to present work that is done on screen (computer), transferred to material sheets. Thanks to collaboration with an American hardware manufacturer (Epson), the attempts have been made to print the images onto graphic sheets, with the desired quality.
The exhibition situation for the four artists was of a special character. Instead of resorting to the professional gallerist, artists have rented a gallery room from a Norwegian-American entrepreneur.
The seeming outsider gallery, in professional terms, with its otherwise decorative profile-called Art delicious-has been found very appealing by the artists, who could have anticipated the exhibition space without preserving permanent address.

Screen-based-to becomes artists, thus wondered in cost terms, assuming that the audience will acquire from these collection prints. Then it must be added that the machine lender Epson has succeeded in guaranteeing the brightness of this ink technology. 200 hundred years has been simulated as a measurable firmness. The publishing has given the artist the opportunity to exchange values in addition to unique production, thus claiming to have attached even the artists’ personal household needs. At the same time, this has given the audience an opportunity to acquire material of an artistic value without it having to answer for its unique costs.

Common to the four artists was a collective concession of striving for quality that lays the artistic material beyond the usual. As the proverb goes, you need to run down in order to build up, the artists expected to seize a chance in this way, to build on the spiritual qualities. And as these printing techniques have overcome the readiness of their practical origins, the new dimensions for the artists arise. The new instrumentation was like the orchestra and the full score, for the composer. As for new generations of artists, what has normally seemed deterrent technically, no longer holds the same positions.

Text by Casper Evensen
Translated by Filip Matić