Pim Zwier - Vika I






Has over ten years of experience in art, specialising in post-war photography and contemporary art.
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Description from the seller
Photographer: Pim Zwier
Title: Aleksandra by the Pergamon frieze II
From the series: (un)moved
Format: 42 x 48 cm
Fine art print, framed with museum glass
Edition 6 + 1 AP with certificate
The series (un)moved has previously been exhibited, among others, at the Hermitage Amsterdam (now H'art) in 2020
Between circa 1905 and 1915, the Russian photographer Prokoedin-Gorski applied the color separation process to capture the Russian Empire in color. Prokoedin-Gorski took three photographs: one with a green filter, one with a blue filter, and one with a red filter. By combining the resulting photos, a color photograph was created.
Prokoedin-Gorski exposed the three required photos in quick succession, with intervals of a few seconds during which he swapped the filters and negatives. Everything that moved between the taking of the shots appears in his final photos—inadvertently—deviant colors or transforms into phantom images.
In keeping with Prokoedin-Gorski’s photos, I apply a similar technique. Whereas, for Prokoedin-Gorski, the color deviations and phantom images are technical imperfections, I deliberately choose a variable interval between the shots to create the desired image.
Photographer: Pim Zwier
Title: Aleksandra by the Pergamon frieze II
From the series: (un)moved
Format: 42 x 48 cm
Fine art print, framed with museum glass
Edition 6 + 1 AP with certificate
The series (un)moved has previously been exhibited, among others, at the Hermitage Amsterdam (now H'art) in 2020
Between circa 1905 and 1915, the Russian photographer Prokoedin-Gorski applied the color separation process to capture the Russian Empire in color. Prokoedin-Gorski took three photographs: one with a green filter, one with a blue filter, and one with a red filter. By combining the resulting photos, a color photograph was created.
Prokoedin-Gorski exposed the three required photos in quick succession, with intervals of a few seconds during which he swapped the filters and negatives. Everything that moved between the taking of the shots appears in his final photos—inadvertently—deviant colors or transforms into phantom images.
In keeping with Prokoedin-Gorski’s photos, I apply a similar technique. Whereas, for Prokoedin-Gorski, the color deviations and phantom images are technical imperfections, I deliberately choose a variable interval between the shots to create the desired image.
