Future Days

The series Liquid Sky shows the artist's experimental analytical approach to the medium of photography. In the pictures, he merges two images into one object for which he uses different image carriers. He draws inspiration from a variety of techniques from other artistic disciplines. One of these is the cut-up technique in the literature of William Burroughs, in which the pages of a text are divided apart and then rearranged among themselves. Wittgenstein's idea of a musical movement structure also serves as a reference for him: "in a polyphonic score, not only can several voices simultaneously be heard, but also different themes and motifs can enter into new or old connections with each other, as well as assert simultaneity through contrast and constriction." Photography is understood here as an extension of the instrumentarium of language. The German band CAN, from whose titles Leciejewski borrows the names of his works, operated in a similar way. After endless improvisations, the band cut out parts of the tapes from their recordings. In some cases, these were deliberately damaged and manually manipulated to create a specific sound, and subsequently edited into a new song. This kind of distortions can also be found back in the pictures. Lint and other "damage" to the visuals is deliberately left untouched. The middle section, which is sandwiched between the two parts of the sky like a colour diagram or soundtrack, shows chromatic interferences. These are caused by the movements of multi-coloured paper during the scanning process. Leciejewski scans the paper in the length of the respective track of CAN.