Epiphany Leads to Transparency
archival inkjet photograph on cotton rag
101 x 155 cm
2023 – 2024
Edition 1 of 3 + 2AP
(Install image)
archival inkjet photograph on cotton rag
101 x 155 cm
2023 – 2024
Edition 1 of 3 + 2AP
(Install image)
Tape_(p)
charcoal and masking tape on acrylic, artist frame
34 x 47 cm
2023
(Install image)
charcoal and masking tape on acrylic, artist frame
34 x 47 cm
2023
(Install image)
Entrance_(p)
tracing paper, grey lead pencil, charcoal, staples, archival masking tape, clear embossed tape, ink, glue and cotton thread on glossy paper, artist frame
31 x 44 cm
2024
(Install image)
tracing paper, grey lead pencil, charcoal, staples, archival masking tape, clear embossed tape, ink, glue and cotton thread on glossy paper, artist frame
31 x 44 cm
2024
(Install image)
Racer
archival inkjet photograph on cotton rag
93 x 143 cm
2023
Edition 1 of 3 + 2AP
(Install image)
archival inkjet photograph on cotton rag
93 x 143 cm
2023
Edition 1 of 3 + 2AP
(Install image)
Casino
oil pastel, archival inkjet photograph on cotton rag paper
50 x 60 cm
2022
Edition 1 of 3 + 2AP
(Install image)
oil pastel, archival inkjet photograph on cotton rag paper
50 x 60 cm
2022
Edition 1 of 3 + 2AP
(Install image)
Opals Diffracting Light
framed analogue C-type photographic print
112 x 140 cm
2022
Edition 1 of 3 + 2AP
(Install image)
framed analogue C-type photographic print
112 x 140 cm
2022
Edition 1 of 3 + 2AP
(Install image)
“I need everything before I can do anything”
framed analogue C-type photographic print
112 x 140 cm
2022
Edition 1 of 3 + 2AP
(Install image)
framed analogue C-type photographic print
112 x 140 cm
2022
Edition 1 of 3 + 2AP
(Install image)
Sapphires Lay in Broken Emeralds
framed analogue C-type photographic print
112 x 140 cm
2021
Edition 2 of 3 + 2AP
(Install image)
Grabowsky’s practice opposes traditional notions of photography as a tool to document reality. To do this he draws upon techniques derived from the improvisational practices of the 1920s Dadaists and the Surrealists’ foray into the unconscious and imagined realm. Grabowsky utilises the film negative in unconventional ways. Instead of using a camera to create an image, Grabowsky scratches, paints and engraves into the surface of the film negative to form an image, thus challenging the viewer’s perception and understanding of their relationship to visual cues and the production of images. These images of the psyche represent a projection of Grabowsky’s subconsciousness, depicted as a ‘chaotic’, parallel time and space.
framed analogue C-type photographic print
112 x 140 cm
2021
Edition 2 of 3 + 2AP
(Install image)
Grabowsky’s practice opposes traditional notions of photography as a tool to document reality. To do this he draws upon techniques derived from the improvisational practices of the 1920s Dadaists and the Surrealists’ foray into the unconscious and imagined realm. Grabowsky utilises the film negative in unconventional ways. Instead of using a camera to create an image, Grabowsky scratches, paints and engraves into the surface of the film negative to form an image, thus challenging the viewer’s perception and understanding of their relationship to visual cues and the production of images. These images of the psyche represent a projection of Grabowsky’s subconsciousness, depicted as a ‘chaotic’, parallel time and space.
Encrypted, Lost then Found
framed analogue C-type photographic print
112 x 140 cm
2021
Edition 2 of 3 + 2AP
(Install image)
framed analogue C-type photographic print
112 x 140 cm
2021
Edition 2 of 3 + 2AP
(Install image)
Untitled Ruins
framed analogue C-type photographic print
120 x 155 cm
2020
Edition 1 of 3 + 2AP
(Install image)
framed analogue C-type photographic print
120 x 155 cm
2020
Edition 1 of 3 + 2AP
(Install image)
Flowers Bloom from Opals
framed analogue C-type photographic print
120 x 155 cm
2020
Edition 2 of 3 + 2AP
(Install image)
framed analogue C-type photographic print
120 x 155 cm
2020
Edition 2 of 3 + 2AP
(Install image)
Symbiotic Surface 2020
framed analogue C-type photographic print
120 x 155 cm
2020
Edition 1 of 3 + 2AP
(Install image)
framed analogue C-type photographic print
120 x 155 cm
2020
Edition 1 of 3 + 2AP
(Install image)
Symbiotic Surface 2019
framed analogue C-type photographic print
120 x 155 cm
2019
Edition 1 of 3 + 2AP
(Install image)
framed analogue C-type photographic print
120 x 155 cm
2019
Edition 1 of 3 + 2AP
(Install image)
Another Sunset
framed analogue C-type photographic print
67 x 88 cm
2019
Edition 1 of 3 + 2AP
(Install image)
framed analogue C-type photographic print
67 x 88 cm
2019
Edition 1 of 3 + 2AP
(Install image)
The Image
framed C-type photograph
180 x 250 cm
2018
Edition 2 of 3 + 2AP
Robert Hughes: “It’s not hard to see the erection of the Eiffel Tower as the beginning of theModern Age and the death of the twin towers as its terrible end”
‘The Image’ was captured in Milan, Italy (2018) using 120 film and printed in Düsseldorf, Germany. Due to a collision within the frame of the camera lens, a mutation occurred, birthing a fictional, alternate reality viewed through the looking glass. All aspects of The Image, from its title, through to its tremendous scale, suggest an exaggeration, alluding to the anxiety of photography.
framed C-type photograph
180 x 250 cm
2018
Edition 2 of 3 + 2AP
Robert Hughes: “It’s not hard to see the erection of the Eiffel Tower as the beginning of theModern Age and the death of the twin towers as its terrible end”
‘The Image’ was captured in Milan, Italy (2018) using 120 film and printed in Düsseldorf, Germany. Due to a collision within the frame of the camera lens, a mutation occurred, birthing a fictional, alternate reality viewed through the looking glass. All aspects of The Image, from its title, through to its tremendous scale, suggest an exaggeration, alluding to the anxiety of photography.
