Adam Jeppesen 
På Papiret
[On Paper]

23 August - 28 September, 2013

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Adam Jeppesen (b. 1978), one of the greatest talents in contemporary Danish photography, has become known over the past decade for a body of work that is both meticulously edited and nakedly diaristic.

Jeppesen’s works are based on his journeys around the world, taking the traditions of travel photography to new grounds. His long journey through the Americas in 2009 has resulted in a large series of works entitled The Flatlands Camp Project. Jeppesen wanted to integrate “imperfect” qualities in the works, such as the wear and tear of the photographs that testify to the journey. Several of the works in the series are photocopies mounted with pins, which adds another layer to the works and creates an entirely new graphic aesthetic, while commenting on photography as a medium.

In his new series Jeppesen has worked with photogravure, wanting to explore the possibilities of further evolving this graphic side of his work.

He quickly realised that this technique resulted in images that were almost too perfect, and thus quite uninteresting, to him. Jeppesen wanted to let go of the precision and control, which is normally needed in photogravure to replicate images. This led him to experiment with the technique; instead of replicating the same image several times, he only applies ink to the printing plate one time, and then prints as many works as possible, until the ink is all gone, and the image has faded away. He emphasizes the technical aspect of the process behind the image, integrating the process as a part of the work, while leaving it up to the viewer to decide, when the image is at its most interesting – or perfect? – stage. Chance ends up playing a crucial role in the development of the work. This is very important to Jeppesen, who has integrated the uncontrollable elements as an important lesson in his workprocess.

The motives in this series of photogravures also stem from Jeppesen’s journeys, but they stay completely anonymous. Deserted landscapes that are neutral and empty, cold mountains and deserts, seem almost out of time and space – located somewhere between documentary and dream – which makes it possible for the viewer to create a personal imagination about the place. Jeppesen’s very private journeys become potentially universal.

Adam Jeppesen distinguished himself internationally with the Wake series, published as a book by Steidl in 2008. Jeppesen has been nominated for Börse Photography Prize 2009 and KLM Paul Huf Award 2009. He is represented at The Denver Art Museum (US), The Danish Arts Foundation, The National Public Art Council, Sweden, The National Museum of Photography, Denmark, and in several private collections.

 

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