03 december 2024, Flor Linckens
Jaya Pelupessy: photography beyond the lens
Jaya Pelupessy is known for his conceptual investigations into the boundaries of photography. In his solo exhibition 'Pictorial Fields', on view at Galerie Caroline O’Breen until 11 January, he explores the early technical history and material qualities of the photographic medium. Building on his earlier project 'Manufactured Manual', this series shifts the emphasis from the subject depicted to the physical surface of the photograph itself.
At the core of Pelupessy’s practice lies an investigation into the mechanisms and processes underpinning autonomous images. He is particularly intrigued by the interplay between the process, its visibility, the medium, and the final result. The artist invites us to reconsider the photographic image through a fresh lens, focusing on the technical and material construction of the image. He examines how reproduction processes, such as screen printing and digital manipulation, not only generate images but also create new layers of meaning and interpretation. His oeuvre often features ‘loops,’ where images are continuously reproduced. Through his work, Pelupessy encourages us to reflect on the constructed, non-neutral role of photography in our visual culture—frequently tied to themes of politics and power—while also addressing the increasingly homogenised mass of images that constantly refer back to one another.
Pelupessy’s approach highlights a deliberate slowing down in an era of visual abundance, where photography — as a reproduction of reality — plays an ever-more prominent role in daily life. By developing techniques that disrupt traditional methods of reproduction, he creates unique objects that compel viewers to engage with the process and construction of imagery. His practice encompasses photography, installations and 16mm film.
In previous series, Pelupessy explored the relationship between originals and reproductions using scale models, digital experiments and physical objects. In doing so, he added new layers of meaning to the interplay between process and product, continually developing techniques that challenge and redefine the conventional boundaries of photography.
In "Studio Sculptures" (2017), Pelupessy focused on the physical reproduction process by placing photographic tools, such as developing trays and reflectors, on pedestals and photographing them. These photographs were then displayed within precisely scaled models of exhibition spaces, exploring the context in which artworks are presented. "Flatten Image" (2019) expanded on these themes by capturing images directly onto light-sensitive paper, resulting in unique photographic objects that defy traditional reproduction methods. In this series, Pelupessy combined abstract forms with digital manipulations.
With "Manufactured Manual" (2020), Pelupessy took his practice to greater conceptual and technical complexity. He integrated found imagery from photography manuals with digital manipulations to create layered collages. These were subsequently applied to screen-printing frames using multiple colour exposures, transforming the frames from tools for reproduction into final works of art. For Pelupessy, exposing a screen-printing frame with UV light is equivalent to developing light-sensitive paper in a darkroom.
In "Absent Statue" (2024), Pelupessy turned his attention to the construction of colonial monuments, reflecting on the tensions between preserving such statues and the potential loss of history when they are removed. At the Unbound presentation, part of Unseen, he presented his first film installation, "RGB Birds", modifying a film projector to pass the same film strip through the lens three times. This allowed him to project three overlapping layers, separating the colours in the process.
His latest series, "Pictorial Fields" (2024), builds on the techniques and ideas of "Manufactured Manual" while introducing a more abstract approach. Where earlier works focused on the context and process of image-making, "Pictorial Fields" shifts attention to the physical and material qualities of the photographic surface. By zooming in on individual pixels and colour planes, Pelupessy balances on the boundary between representation and abstraction, placing the image itself at the centre of his inquiry.
For this series, Pelupessy developed new techniques, incorporating pigments into light-sensitive emulsions, enabling him to layer multiple colours onto a single screen-printing frame. Once again, he transforms his technical tool into a final artwork. Through multi-coloured exposures, he creates complex, layered images that are both abstract and tangible, referencing the physical and technical origins of the photograph. This series positions Pelupessy’s work within the context of abstract expressionism, offering a critical perspective on the representational and technical limitations of photography. The screen-printing frames serve as canvases where process and outcome seamlessly merge into unique works of art.
The exhibition at Galerie Caroline O’Breen features works from "Pictorial Fields No. 10" onwards, since earlier pieces from the series are currently on view in the exhibition 'Circulate – Photography Beyond Frames (Proposals for the Museum Collection)' at the Stedelijk Museum in Amsterdam (until 23 March 2025). Here, Pelupessy presents his largest work to date: a panoramic installation.
Jaya Pelupessy was born in Utrecht in 1989 and graduated cum laude from the HKU. In the same year, he was awarded the Steenbergen Stipendium. In 2019, he was selected as a Foam Talent, and in 2020, he received the K.F. Hein Stipendium. His work has been exhibited at institutions including the Nederlands Fotomuseum, FOAM, Centraal Museum, Deutsche Börse Photography Foundation, C/O Berlin, Wereldmuseum Amsterdam, as part of Unseen’s Unbound, and at FotoForum in Innsbruck. His work is held in collections such as FOAM, Nederlands Fotomuseum, Wereldmuseum Amsterdam, Centraal Museum, Amsterdam UMC, Eneco, and the Steenbergen Collection.
