Malhotra’s work explores the transmission and translation of visual information, often mimicking digital methods of reproduction through labour intensive analogue processes. The imagery he works with are natural elements in constant flux; skies, mountains and oceans. These are chosen not just for their unsuitability to simulation through the binary reproduction, but also the importance of this subject matter in the history of picture making.
By re-interpreting this imagery through drawing and printmaking processes, he aims to question how we receive and use images of nature today.
The Waterfall etchings depict a series waterfalls, based on vistas sketched ‘plein air’ from his journeys within video games. The choice of copperplate etching references the historical art production, and reproduction, of landscape imagery for wider consumption using this medium. However, in recognition of the source, he reverses the usual tonal construction within the print by using white ink on black paper. Here we see a mimicry of light a black screen, as underpins the relentless digital images we see in contemporary society. Although the hundreds of vertical lines look mechanically produced, each is hand drawn, creating unbroken lines of unique variation in contrast to the binary of the original.
Malhotra’s work explores the transmission and translation of visual information, often mimicking digital methods of reproduction through labour intensive analogue processes. The imagery he works with are natural elements in constant flux; skies, mountains and oceans. These are chosen not just for their unsuitability to simulation through the binary reproduction, but also the importance of this subject matter in the history of picture making.
By re-interpreting this imagery through drawing and printmaking processes, he aims to question how we receive and use images of nature today.
The Waterfall etchings depict a series waterfalls, based on vistas sketched ‘plein air’ from his journeys within video games. The choice of copperplate etching references the historical art production, and reproduction, of landscape imagery for wider consumption using this medium. However, in recognition of the source, he reverses the usual tonal construction within the print by using white ink on black paper. Here we see a mimicry of light a black screen, as underpins the relentless digital images we see in contemporary society. Although the hundreds of vertical lines look mechanically produced, each is hand drawn, creating unbroken lines of unique variation in contrast to the binary of the original.
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