2016 / Fine Art / Abstract

The light – sensitive sendings

  • Photographer
    Marek Noniewicz

In 2000 I made my first pin-hole camera ‘dispatch’ by using a 9*12 cm film box and placing this size of film inside the camera. Addressed and wrapped in gray paper, I sent it by post. Time passed by, and I was only able to see the effects after some months. The situation came back to be mind when standing in front of the postal counter, looking at the information prohibiting the use of mobile phones, filming and ...photographing in the post office area, I scratched the piece of tape from the camera’s lens. I made the contact print from the developed, “postal’’ negative. A black sheet of paper. The flat construction of the camera allowed only a white circle and some details to be visible in the middle : blurred streaks of the lamps, a fragment of some window, or maybe some doors, some flower in a pot? A fragment of reality the existence of which I could only speculate. I was posting other cameras at irregular intervals of time, each at a different post office. The addressees would send the parcels back , and sometimes I was the addressee myself. I decided to use a bigger size of film (10*15cm ), and also changed the optics and construction of the camera. Every other print disclosed a totally different picture of the same reality. This was a very important experiment with the relativity of space. A recording displaced from time; from the moment of posting the camera to receiving it, opening, developing the film, making the adjoining copy, is a process. I get a rectangle 10*15 cm, being the material representation of some space. This process is irregular, in the case of a few ‘dispatches’, still on going. Those parcels, sent as a normal letter have not yet returned and probably they will never. Some acquaintance photographer called them “ the postal voyagers in the space Galaxy of the Great Office”. This process seems to be important to me not only for the unforeseen time of exposure and the fact, that is uncontrolled. Equally important and paradoxical is the participation of the institution not connected with photography ( art ), to which in this place, I would like to thank for their cooperation.