Dove Allouche, Spores, 2014

Lead pencil, silver oxyde, ethanol and ink pigment on paper
120 x 96,5 cm, framed 136 x 106,5 x 4 cm
Unique
The subject of the Spore works is the photographic emulsion Allouche makes himself with the same tools used for drawing. He puts spores known for their voracity on a photographic plate; they eat away the emulsion and do the drawing for him on the plate itself placed in a petri dish. Then he fixes the place and draws on it.There is no more narrative subject. Allouche drawings are like a mode of apparition - the photographic equivalent would be a double exposure. Unlike photographic paper, drawing paper can incorporate images into its ber by absorbing the materials used the image appears as a result of this embedding.

Dove Allouche, Spores, 2014

Lead pencil, silver oxyde, ethanol and ink pigment on paper
120 x 96,5 cm, framed 136 x 106,5 x 4 cm
Unique
The subject of the Spore works is the photographic emulsion Allouche makes himself with the same tools used for drawing. He puts spores known for their voracity on a photographic plate; they eat away the emulsion and do the drawing for him on the plate itself placed in a petri dish. Then he fixes the place and draws on it.There is no more narrative subject. Allouche drawings are like a mode of apparition - the photographic equivalent would be a double exposure. Unlike photographic paper, drawing paper can incorporate images into its ber by absorbing the materials used the image appears as a result of this embedding.

Dove Allouche, Spores, 2014

Lead pencil, silver oxyde, ethanol and ink pigment on paper
120 x 96,5 cm, framed 136 x 106,5 x 4 cm
Unique
The subject of the Spore works is the photographic emulsion Allouche makes himself with the same tools used for drawing. He puts spores known for their voracity on a photographic plate; they eat away the emulsion and do the drawing for him on the plate itself placed in a petri dish. Then he fixes the place and draws on it.There is no more narrative subject. Allouche drawings are like a mode of apparition - the photographic equivalent would be a double exposure. Unlike photographic paper, drawing paper can incorporate images into its ber by absorbing the materials used the image appears as a result of this embedding.