Aubie Golombek will continue his exploration into the photographic exposure as being infused throughout the photographic surface as veils of atmospheric perspective (simulacra).
Hence, his secretive surfaces of flesh resting upon the mirror of photographic representation will be shown after initially reading, and discussing, the prophesy of the silvered daguerreotype in the Giphantie (1760).
Devoted to Bosch’s “Garden of Earthly Delights”, Rembrandt as Christ, homages to Edward Weston, Alfred Stieglitz, and Francis Bacon, this on-going series will represent Golombek’s thesis, which is inspired by Tiphaigne de la Roche and L.J.M. Daguerre.
You know, the rays of light reflected from different bodies form pictures, paint the image reflected on all polished surfaces, for example, on the retina of the eye, on water and on glass…coat a piece of canvas with this matter, and place it in front of the object to be taken. The first effect of this cloth is similar to that of a mirror, but by means of its viscous nature the prepared canvas…retains a facsimile of the image…The canvas is then removed and deposited in a dark place. An hour later the impression is dry, and you have a picture…
Tiphaigne de la Roche, Giphantie (1760)
