Soham Joshi (°2000, Mumbai, India) makes photos, photos and conceptual artworks. With a subtle minimalistic approach, Joshi seduces the viewer into a world of ongoing equilibrium and the interval that articulates the stream of daily events. Moments are depicted that only exist to punctuate the human drama in order to clarify our existence and to find poetic meaning in everyday life.
His photos establish a link between the landscape’s reality and that imagined by its conceiver. These works focus on concrete questions that determine our existence. By taking daily life as subject matter while commenting on the everyday aesthetic of middle class values, he creates intense personal moments masterfully created by means of rules and omissions, acceptance and refusal, luring the viewer round and round in circles.
His works are given improper functions: significations are inversed and form and content merge. Shapes are dissociated from their original meaning, by which the system in which they normally function is exposed. Initially unambiguous meanings are shattered and disseminate endlessly. By exploring the concept of landscape in a nostalgic way, he tries to create works in which the actual event still has to take place or just has ended: moments evocative of atmosphere and suspense that are not part of a narrative thread. The drama unfolds elsewhere while the build-up of tension is frozen to become the memory of an event that will never take place.
His works question the conditions of appearance of an image in the context of contemporary visual culture in which images, representations and ideas normally function. By applying abstraction, he creates work in which a fascination with the clarity of content and an uncompromising attitude towards conceptual and minimal art can be found. The work is aloof and systematic and a cool and neutral imagery is used.
His works directly respond to the surrounding environment and uses everyday experiences from the artist as a starting point. Often these are framed instances that would go unnoticed in their original context. By studying sign processes, signification and communication, he tries to develop forms that do not follow logical criteria, but are based only on subjective associations and formal parallels, which incite the viewer to make new personal associations.
His works sometimes radiate a cold and latent violence. At times, disconcerting beauty emerges. The inherent visual seductiveness, along with the conciseness of the exhibitions, further complicates the reception of their manifold layers of meaning. By emphasising aesthetics, he focuses on the idea of ‘public space’ and more specifically on spaces where anyone can do anything at any given moment: the non-private space, the non-privately owned space, space that is economically uninteresting.
His practice provides a useful set of allegorical tools for manoeuvring with a pseudo-minimalist approach in the world of photography: these meticulously planned works resound and resonate with images culled from the fantastical realm of imagination. In a search for new methods to ‘read the city’, he often creates work using creative game tactics, but these are never permissive. Play is a serious matter: during the game, different rules apply than in everyday life and even everyday objects undergo transubstantiation.
His works are based on formal associations which open a unique poetic vein. Multilayered images arise in which the fragility and instability of our seemingly certain reality is questioned. By choosing mainly formal solutions, he investigates the dynamics of landscape, including the manipulation of its effects and the limits of spectacle based on our assumptions of what landscape means to us. Rather than presenting a factual reality, an illusion is fabricated to conjure the realms of our imagination.
His works are often about contact with architecture and basic living elements. Energy (heat, light, water), space and landscape are examined in less obvious ways and sometimes developed in absurd ways. With a conceptual approach, he makes work that generates diverse meanings. Associations and meanings collide. Space becomes time and language becomes image.
His works doesn’t reference recognisable form. The results are deconstructed to the extent that meaning is shifted and possible interpretation becomes multifaceted. By putting the viewer on the wrong track, he tries to approach a wide scale of subjects in a multi-layered way, likes to involve the viewer in a way that is sometimes physical and believes in the idea of function following form in a work.
His works are characterised by the use of everyday objects in an atmosphere of middleclass mentality in which recognition plays an important role. Soham Joshi currently lives and works in Brighton.
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