CSS Smooth Text Color Transition

Chromogenic print in artist’s frame
49 x 32 cm

The original model for Yet to be titled is a found press photograph from 2009. The motif is a building site in Tripoli. That is two years before the foreign intervention in the country. Electricity shortages prevail and the South Korean company Daewoo is in the process of building a power plant. We see the construction site; above a pickup truck hangs a large framed mirror. The mirror consists of five smaller vertical mirrors that reflect an orange steel structure from the building site. In the original photograph the frame included a large propaganda poster depicting Colonel Muammar Gaddafi celebrating the 40th anniversary of the Libyan Revolution. That Gaddafi’s place is now taken by a mirror seems to suggest the obvious: that the choice between a Western presence and “Gaddafism” was ultimately a false, paraconsistent one: the Libyan dictator as a sort of distorting mirror. 

Another observation about the picture is that what is seen in the mirror is not optically consistent. The reflective surface does not show what is there in the foreground. What we see is in fact the surface to the left of the mirror, the background, if you will. That surface has been repeated five times by an act of digital duplication. Repetition in architecture has typically manifested in duplication. We see it in the steel structure on the building site with its loss of formal lineage. Digitally this gesture results in the boundaries between foreground and background being impossible to hold onto. The genealogy of duplication is a never-ending story comparable to the act of cloning. The dilemma, then, is not the risk of losing the original, but rather the predicament of immortality, that something can be reconstituted endlessly from leftover fragments, and reconfigured in constantly new variants. ︎