Temporal Undulations: Topography of a Meteorite. A photograph of a three-dimensional print of a meteorite, invoking Walter Benjamin’s optical unconscious. It is also a reference to Timothy Morton’s description of objects as they appear in time and space, Morton uses the meteorite as a metaphor for the temporal nature of objects, making them ultimately unknowable.
Gregor Is a PhD candidate at Curtin University researching the changing role of the photographic image, through techniques such as digital photogrammetry. A process that is used for mapping surfaces by stitching multiple overlapping photographs generating three-dimensional objects. Whilst photogrammetry can be seen as a technique for three-dimensional digital applications, the research is intended to examine photogrammetry through a photographic lens, as generating the three-dimensional object requires photographic data. This can also be seen as part of the expanded role of the photographic image within the post-photographic era, with digital technologies moving the photograph beyond the traditional roles of truth and reality.
His practice involves applying this technique to generate digital artefacts for a post-natural world, examining our anthropocentric need to collect and catalogue the world around us, a world that increasingly no longer exists. As well as questioning the role that the camera has played in creating a visual inventory, informing our perception of the environment whilst exacerbating the human/nature divide. The images submitted for the Collective are part of a series called No Direction Home, incorporating photographs, three-dimensional prints, and digital animations aiming to articulate aspects of the Anthropocene in ways that sit outside of scientific and mass-mediated discourse. The photographic prints represent both the beginning of the era of the technical image (Flusser, 1985) and how digital technologies can potentially alter our perception of the photographic image from a depiction of reality into the projection of a concept.