Délio Jasse, ‘Terreno Ocupado #8’, 2014, Baginski, Galeria/Projectos
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Délio Jasse

Terreno Ocupado #8, 2014

Cyanotype on Fabriano Paper
22 × 29 9/10 in
56 × 76 cm
Edition 1/3/3 + 2AP
.
About the work
Délio Jasse
Angolan, b. 1980
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Using photography as a vehicle for experimentation, Jasse works with found passport photos and family albums to explore what he calls “latent imagery.” In this new context, previously unseen elements in the images are revealed. Although he works with photographs, Jasse claims that his artwork is not purely photographic; rather, photography serves as a point of departure—whether through analog printing methods or layered, superimposed images—to alter spatial construction. In his “Pontus” series of manually tinted emulsions, for example, Jasse flattens, juxtaposes, and highlights different scenes to direct the viewer’s gaze and highlight the evolution and cultural convergences of postcolonial Angola.

Délio Jasse, ‘Terreno Ocupado #8’, 2014, Baginski, Galeria/Projectos
Save
Save
View
View in room
Share
Share
About the work
Délio Jasse
Angolan, b. 1980
Follow

Using photography as a vehicle for experimentation, Jasse works with found passport photos and family albums to explore what he calls “latent imagery.” In this new context, previously unseen elements in the images are revealed. Although he works with photographs, Jasse claims that his artwork is not purely photographic; rather, photography serves as a point of departure—whether through analog printing methods or layered, superimposed images—to alter spatial construction. In his “Pontus” series of manually tinted emulsions, for example, Jasse flattens, juxtaposes, and highlights different scenes to direct the viewer’s gaze and highlight the evolution and cultural convergences of postcolonial Angola.

Délio Jasse

Terreno Ocupado #8, 2014

Cyanotype on Fabriano Paper
22 × 29 9/10 in
56 × 76 cm
Edition 1/3/3 + 2AP
.
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