Jason Shulman is a pioneer who navigates art as Tesla did science and “Fast Forward” reflects this empirical approach to art. His new work, which is shown here for the first time at the White Noise Gallery in Rome, is a visual experiment demonstrating the relativity of time.
Sculptor, photographer and eclectic artist known worldwide, he’ll be exhibited for the first time in Italy, after several featuring with artists such as Marc Quinn. Shulman’s starting point is cinema, the most accurate simulation of life; each 90 minute film features roughly 130,000 frames, each of them represents one of the links of the genetic code of the story. The works are created by compressing all of them in one single image, through extremely long exposures.
The scenes are added one on top of the other, the audio disappears, the movement is condensed, logical consequentiality loses its sense for a completely emotional impression. Shulman’s photographs are the result of a synthetic process made out of additions where, to understand the whole, details need to be given away.
Large-format works compress the America of Sergio Leone (A Fistful of Dollars), the horror of Dario Argento and Mario Bava (Suspiria, Inferno, Black Sabbath, Diabolik), but also the troubled Italy of the masters of the cinema: from Visconti (the Leopard) to Sorrentino (the Great Beauty), from Tinto Brass (Caligula) to Pasolini (Salò, or the 120 Days of Sodom and The Gospel According to St. Matthew)¬
As the white noise is the best approximation to complete silence since it reproduces all the audible frequencies simultaneously, so Shulman’s images are, at the same time, incredibly chaotic and absolutely quiet.