Since its inception photography has been taken up as the optimal form of information exchange and today the rate of production, distribution and consumption of images remains unparalleled. Immaterialities brings together three artists who challenge our familiarity with the ubiquity of the medium and reflect on photography as a tool for the distribution of information. Matthew Trevisan’s images reveal the often-unexpected physical forms that newspapers take before they are neatly folded, unfolded and consumed. Reproduced on newsprint in the gallery, the shortcomings of the medium are emphasized: creases run though the images and the prints on the verso side bleed though the thin paper. Also looking at industrial spaces, Abdulrahman Hadid’s spare compositions of minimum-cost construction seem to reference high-modernist architecture. Vibrant patterns formed by the corrugated steel are reminiscent of the test print swatches used in industrial photographic printing. Holly Dunlap’s seemingly abstract pieces offer subtle clues to their production: a camera flash reflected in a glossy piece of paper, rough edges from imperfect cuts, and corners of backdrops left uncropped. On closer inspection, her complex system of layering, reworking, and re-photographing obfuscate any complete understanding of how the images were constructed. Like all the works in this exhibition they demand a second look and call into question the way we consume images. What remains when reality is translated into a tangible material?
