que l'espace s'effondre, 2015

Anyse Ducharme evinces a similar interest in fragmentation and the interface between the image and its material support, but focused within the digital realms of data and image translation and processing rather than the physical world of the body and its (mis) representations. Often sourcing her raw materials from the web, Ducharme translates her chosen images and texts into code, splicing variant syntaxes (digital, textual) and generating out of this now glitch-ridden linguistic hybrid a new entity which is neither-and both-visual, textual, virtual, actual, and/or representative of anything real except the process of its own making. And yet it is in the artifacts and effects of the process-what gets lost and found in translation between sources and products-that meaning resides. For instance, in creating que l'espace s'effondre (of collapsing space), Ducharme traces light's pathway between multiple layers of reality. Working from digital images containing screen-based reflections, she isolates the erratic forms, which themselves are based in continuously shifting conditions specific to the source and site of image and screen, and processes them in preparation for printing at monumental scale onto sheets of crystal clear polyester. The resulting image therefore originates in the emission of photons from photographed object to its entry into a capture by camera, to their translation into pixels and representation on backlit screen, to their interaction and combination with reflections on the screen's surface, to their selection and translation into ink on a clear substrate, to their interaction and combination with reflections from lighting in the gallery space, and finally to their entry into a capture by the viewer's eye. Borne of so many degrees of separation, the recombinant images embody multiple dimensions-chimeras made real, casting indexical shadows even as they embody a state of evanescence. When spontaneous errors in genetic transcription yield mutations that don't end up as fatal dead ends, they have the potential to advance whole species. Similarly, Ducharme's intentional interruptions, corruptions, and extensions of existing codes engender new and unexpected forms and functions for photo-based image making apropos to the age of the "migratory pixel."

-Shani K. Parsons, excerpt from Proof 23 curatorial essay, Gallery 44, Toronto.

documentation of que l'espace s'effondre during the Proof 23 group show
installation view at Gallery 44.
Photo by Jocelyn Reynolds, 2016
pigment inkjet print on polyester film, finishing nails

documentation of que l'espace s'effondre installation at the Morris and Helen Belkin Gallery, 2015
photography by Michael R. Barrick installation for interdepartmental critique, 2015
pigment inkjet print on polyester film, finishing nails