Digital Art work
Dimitri first studied science and technology. The word “technography” comes to the mind as you stand captivated by his research of extreme. He calls upon attention, bodies and technology to display his specific vision of the very mutation of Human kind. Bodies in motion or statues frozen in their evolution by Dimitri Daninoff’s processes are the tools and mirrors of his obsessions and intuitions. His concepts, although a bit disturbing at first glance, create a paradoxical atmosphere that has seduced the biggest players of the contemporary leisure or prêt-à-porter fashion industries, cementing Dimitri Daniloff’s reputation as an advertising and gallery photographer with a strong identity. Twisting reality, “making the invisible visible”, while remaining in an ambiguous virtual/reality context.
Aion and Chronos
“The event is located in time without duration, paradoxically empty, in which nothing is happening. Despite its being pure change, the event is static, and is only perceptible after the fact- or else during its effectuation if the latter is long- in an interminable waiting, in which the not-yet and the already remain stuck to one another. The event as such is always happening, it is impossible for it to finish. Happening (evenire) is what never ceases, despite its instantaneity. In the event, the different moments of time are not successive but simultaneous”
Somehow, it feels like Zourabichvili is describing the fluid nature of these photogrammetry portraits, in how they show us the complexity of time in the way that they are not fixed in a particular moment, but contain an elasticity in how they pull and push us through photography’s history. Each portrait acts as a quasi-document of an event, which on the one hand feels static and what we expect when looking at a photograph, a capture that is mid-sentence, but here, there is also a strong suggestion of what is about to come next, stirring a curiosity for the future frame, almost cinematic. These portraits of points dissolve around the edges resembling the dance of backlit smoke, where the ephemeral feels tangible, but not something we can grasp, just like time, love, and where these images are formed, in the virtual world.
A dichotomy is present in these works, in the way that they are futuristic portraits of points, voxels, and polygons, made with 3D modelling and mapping tools that launch us into science fiction, coupled with High Renaissance sfumato surfaces and textures and chiaroscuro dramatic lighting. A similar plurality is suggested in how the subjects are represented. A modern and casual aesthetic is contrasted with a refrained psychological gaze that is often seen in 16th century painting and early photographic portraits of the 18oos.
These portraits change our perception of time. The past, present, future, minutes, and seconds, collapse and expand right before our eyes, and also the viewers expectations around the photographic medium, what it means to be a photograph, and the future of photography.
This image represents the first step in Eve's teleportation to the Metaverse. The 3D cage, symbolized by the metal cube, represents the gateway to this new world. The first human being teleported from the physical world using photogrammetry, proof of her material existence is the porcelain imprint she leaves behind. This is for me the start of a new work that began with the teleportation of ancient Roman statues, dating back 2000 years, constituting the first stage of building a virtual world. This image is the culmination of 3 years of research during which I explored photogrammetry by connecting the physical world with the digital world.