Dove Allouche, Pétrographies RSM, 2015

Silver print based on a thin slab of stalagmite mounted on aluminum
178 x 118 cm, framed 180 x 120 cm
Unique
Allouche frequently uses images or materials that were created for scientific or documentary purposes. Continuing his interest in caverns, the artist has used thin slide of stalagmite from the Remouchamps cave in Belgium as negative for a series of large-scale gelatin silver prints titled Pétrographies. Although the slices are essentially opaque, the light from Allouche’s enlarger succeeded in passing though to produce images that visualize the layers of time hidden within the material. In a additional conceptual move, Allouche matched the scale of these large black-and-white prints with that of the cave mouth and walls from which the stalagmite came.

Dove Allouche, Pétrographies RSM, 2015

Silver print based on a thin slab of stalagmite mounted on aluminum
178 x 118 cm, framed 180 x 120 cm
Unique
Allouche frequently uses images or materials that were created for scientific or documentary purposes. Continuing his interest in caverns, the artist has used thin slide of stalagmite from the Remouchamps cave in Belgium as negative for a series of large-scale gelatin silver prints titled Pétrographies. Although the slices are essentially opaque, the light from Allouche’s enlarger succeeded in passing though to produce images that visualize the layers of time hidden within the material. In a additional conceptual move, Allouche matched the scale of these large black-and-white prints with that of the cave mouth and walls from which the stalagmite came.

Dove Allouche, Pétrographies RSM, 2015

Silver print based on a thin slab of stalagmite mounted on aluminum
178 x 118 cm, framed 180 x 120 cm
Unique
Allouche frequently uses images or materials that were created for scientific or documentary purposes. Continuing his interest in caverns, the artist has used thin slide of stalagmite from the Remouchamps cave in Belgium as negative for a series of large-scale gelatin silver prints titled Pétrographies. Although the slices are essentially opaque, the light from Allouche’s enlarger succeeded in passing though to produce images that visualize the layers of time hidden within the material. In a additional conceptual move, Allouche matched the scale of these large black-and-white prints with that of the cave mouth and walls from which the stalagmite came.