EMOGRAFY. Vintage photography. Fine art.
INTERPRETATION OF DAILY FACTS. MULTIPLE PERSONALITIES. EMOGRAPHS.
Emographs are very personal but they are still photography, a heavily condensed emotional bomb that gives no rest for a longer time (only for a while). Sometimes it happens long before our decision to photograph “her”.
“SHE” lives her own life, without asking anybody permission to appear here or there.
But she often explodes the moment we are not ready and we don’t have any tools to record reality (a camera for example).
They live (the emographs I mean) their own lives and evolve around us all the time, we only need to make a little effort to see them.
Emographs are not always a hypocritical picture of the people we live with, they are often forced behaviours imposed by other people because of envy and greed.
We are the creators of these behaviours and we must live with them, whether we want it or not.
While moving from one person to another, Emographs shape themselves and we can’t have constant control over them. They are common, unwanted children nobody accepts as their own or children left at the mercy of their fate long time ago.
Time is ticking away relentlessly. There comes a period of reckoning and uninvited discussions on what we could have and should have done, what we managed to do and what we didn’t. An examination of conscience and the overall assessment that yields a negative result provide an obvious impulse to do something. But what for?
It’s impossible to erase the numerous, blank pages from the memory, there are too many of them.
We often observe other people’s lives but without thinking about the sense of existence, we only try to find our own place in the long row of dominoes. Orphaned emographs wander further to find their parents, in vain and in despair, crying
for help. Discarded, they often become instruments of power in the wrong hands. THEY know what is good and what is bad, as every human in this world. Yet, we – so much blinded by our own needs and the urge to possess as much as possible, we not always use the common sense and we don’t consider others when making decisions. Emographs are a repository of knowledge and inexhaustible energy that waits to release its emotions at a particular moment and place.
They glance at the world and try to find their own place in it. They are a reversed picture of a battered soul of everyone of us. With time they become wiser and they start to take control over all that we do. During their wandering they carefully observe and absorb all that happens on their way. They may be cheerful and smiling. Emographs are an emotional record of the
reality in a given moment. Prisoned and tangled with all that we do, they take a physical shape that to a certain extent is our reflection.
They are a schizophrenic and mutated mirror image of our souls. Greed and envy, which we can’t get rid of, are the sources of our destruction and lack of control. The urge to prove everyone that we are the most important…
The entire text is available at www.fryderykdanielczyk.com
Artwork framing is the most important part which decides about a work of art’s presentation and its exhibition value. There is conscious communication between the framing and a work of art, they complement each other and create the final visual effect of a photograph. A well thought-out choice of the right material gives a photograph a life of its own. Fine art photography which is intended for auction sale or exhibition, being not only an item of artistic value, but also of collector’s value, has to meet certain standards.
The wood used for making profiles has 8-12% of moisture content and usually is hardwood from beech, ash, alder, maple, oak, fruit trees or tropical trees. It is always the best quality timber, free of knots, sapstain or other defects. The wood I use for framing is usually seasoned in natural conditions for a few or more than ten years. Panels of wood, before they are milled, mature for a few weeks to prevent distortion of profiles. After obtaining a desired shape, the ready material is seasoned for another few weeks. A ready profile gets into my hands and the painstaking processing of each frame begins, one by one, for several months. Every frame is made with my own hands, thanks to this its uniqueness is exceptional. The material used to protect wood after processing is mostly oil. A photograph has no direct contact with the frame and glass.
Passe-partout is made of foam board which meets the requirements of ISO 90706 and has direct contact with the print, at the same time increasing its durability. ISO standards define requirements that have to be met by a product made from paper, so that it could have direct contact with print for many years. Passe-partout is a kind of packaging that protects the work of art.
ISO standards are as follows:
– acid-free quality – pH 7 minimum means the material is not acidic. Chemicals used in paper production, together with the environment pollution and climate cause acidification of paper, that is to say cellulose fibers are broken down making paper look yellowish and start to crack
-in order to make material more acid-free magnesium carbonate or calcium carbonate is added so-called buffer/alkaline reserve, according to the standards the content of a buffer should be between 3 to 5% ? this is so-called durability.
-a vital factor in paper production is the choice of material that will be used for making the product. The standards require to use Alpha cellulose, material that has long and strong fibers. The material used for paper production doesn’t contain lignin. Thanks to high quality resources being used, no optical brighteners need to be added, which normally prevents efflorescence in paper.
-recycled material is not used in production.
A photograph is attached to a passe-partout only with an acid-free tape, durable, of 8,5 g/m2 with alkaline reserve. It has a natural, non-yellowing adhesive. If the passe-partout or the backing of a photograph has direct contact with the print, the acidic content will affect the cardboard. Thus, in order to keep the highest quality of a print, we use top quality foam board.
It’s also possible to frame a photograph in a UV glass. The main purpose of the glass it to physically protect a work of art against harmful factors such as: air humidity, temperature, dirt and scratching, and most importantly ultraviolet radiation.
The series of works consists of the beginning (cover) and seven diptychs (fourteen works). All works are packed in a box of size: 103cm x 54cm x 68cm. The box is made of ash wood, 8-12% of moisture content, finished in matt oil based on natural Chinese oils, honey-coloured. Original leather in the upper right corner.
Each photography is put into a case of size: 60cm x 51cm x 4,5cm, made of acid-free cardboard, covered with linen produced from pure linen yarn. Works are additionally protected by foil packaging.A detailed description of each work is screen printed on the back of the case. Emographs title is on the front.
The series of works is supplemented by a book bearing the same title, it’s a theoretical part and it helps to understand and interpret the time, events and people engaged in the making of the series. The box can be used for transporting and storing the series.
Diptych no. 1
– ” … Wait a second. If you’re not Billy, who are you …?”
– author Fryderyk Danielczyk
– one of the works from diptych no. 1
– place – Gołdap
– limited edition 7 pcs
– number ?/7
– made from negatives
– original prints, Baryte paper
– black-and-white photographs
– Silver Gelatin Print
– original frames made of beech wood – 8-12% of moisture content, covered with matte oil based on natural Chinese oils, natural wood colour, title laser engraved in the lower right corner
– backings made of acid-free cardboard with neutral pH adhesive and alkaline buffer, durable, without any optical brighteners. The board meets the requirements of ISO 9706 and PAT (Photography Archival Test) standards, obverse and reverse ? original screen printing in the upper right corner
– date of making the negatives 2010
– date of making the prints 2010
– original prints 39cm x 49cm
– prints don’t have direct contact with the glass and frame
– signed on the reverse with a pencil
– fine art photographs