A 100 hundred word introductory text written for a Regional Nikon Event. It rose the usual controversy, many of the readers who encountered it, either valued the approach or refused it totally. Here it is in both a short and expanded version. It is open to discussion.
“Alexy Joffre Frangieh started, his path at the age of 11, as Digital and Video Artist, a decade before embracing photography as one of his media. Most of his research was based on kinematics, fractals, singularity, dualities and many other concepts. He always thought that “Nature” hates stillness”, and he thinks that a “photograph” is meant to be a tool and not an aim, a constituting element of a work and never the work itself. His quest was to capture choreographies found within Nature, and within Man. And to him, showing them, is impossible, at the moment, while freezing Time.”
And here is another expanded text of the summary above:
Alexy Joffre Frangieh is a Lebanese artist, who started exploring visual arts at an early age. He acquired considerable skills in electronic visual content creation. He later on saw the potential of Photography as a tool to visualize the artistic concepts he believes in. Frangieh always thought that “there is a charm in the imagery when one deals with continuity,in form of a sequence of photographs.”
Time-lapse was one of the most direct applications of sequencing, since it introduces time and choreography. This very discipline pushes the “individual” photograph to abide by the dynamics of the “whole” and vice versa.
Alexy has many Time-lapse based works broadcasted on leading regional televisions in the form of channel bumpers. He is also a specialist in immersive imagery and giga-pixel imaging that are also forms of sequencing.
He had designed many field-specific modifications to existing gear, besides; he had developed a long time-lapse device based on heavily modified Nikon cameras.
Alexy has made numerous installations and video artworks based on photographic capture.
Briefly, he thinks that “Nature hates Stillness” and “Life is in the Motion,” thus photograph or a still is a constituting element of a Work and never the Work itself. “After all it is the continuity of those stills that create the Motion,” he states.
Currently he is researching data-mining and artificial intelligence, and its creative possibilities when applied on sequences and large volumes of photographs.
He is working on a book that took one full year of fixed interval shooting. The book will consist of one frame but 300 scenes. 300 carefully selected captures, showcasing the singularity of both time and space and what lies beyond.”
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