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Watch, Look, See&Read
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2016
Fujifilm Instax, Archive Book
In Watch, Look, See&Read, photography is no longer a means of collecting the visible world, but an inquiry into the meaning of viewing—a reflexive gaze that turns back from the act of looking itself. The photographic act performed by the artist here is both a deviated aesthetic strategy and an ethical act of perception. He does not extract images from the world; rather, he brings his own eye—his ability to perceive—close to the reality already permeated by images.



This is not a creation about “images,” but rather a reinvention of the “act of photography.” The artist carries a Polaroid camera while wandering the city. As the machine silently records the thinness of daily life, he brings his body closer to the camera, intercepting the moments that have not yet been written into the record. This is not a confrontation but a subtle distortion of the signal at a specific moment; not an act of revelation but of theft—like gently snatching a frame of intensity not yet settled in the instant of the machine's blink, allowing the image to return from the redundant sequence to an existence that has not yet been named.



Photographic aesthetics have long been placed in the tug-of-war between the “decisive moment” and its opposite: seeking order in the moment, capturing the accidental in the anti-moment. However, under the contemporary conditions of viewing, the backdrop for these “moments” has been eroded, like a surface of the world automatically generated, difficult to penetrate or identify in depth. Surveillance cameras are not short of images, nor of events, but fail to lead to tangible generation. What they constitute is an endless sequence of images—a record space that loses the eventfulness, flattening daily life into a flow of probabilities and dissolving all possible aesthetic dimensions in viewing.



This piece consists of three components—the Polaroid image, the surveillance archive book, and the photographs documenting the act of photography—each one serving as a differential of the viewing mechanism, deconstructing the ethical structure of viewing step by step, from the point of view, to its return, to its split. The repetition of the title Watch, Look, See&Read is not a forced visual command, but a modulation, an amplification, and an extension of the verb “watch.” What it concerns is not the power of viewing, but the very conditions that make viewing possible.



This kind of viewing no longer leads to understanding but to proximity; no longer seeks expression but preserves an unfinished trace of presence. The images produced by the artist here retain only a crease of the senses. Each time the shutter is pressed, it is an instantaneous creation, a fragment of life caught from an unnamed viewing field.



Watch, Look, See&Read does not propose resistance, but a gentle intervention—an alternative possibility that coexists with the conditions of the image. It does not make the image speak, but lets the act of viewing leave a trace in a space of nothingness.
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