The ƒ/Ø (f-zero) Project is a printmaking and publishing studio established to rethink the nature of the photographic object, by starting again from the beginning. Our goal is to marry technologies from photographic history with artists from the contemporary world, giving them the opportunity to expand their vocabulary by working in a wider variety of techniques. Built on the model of twentieth-century printmaking studios like Tamarind and Gemini, rather than that of a photo-lab, we collaborate with artists to produce unique and editioned works.
As photographic technology has become more refined it has also become increasingly monolithic. Older technologies have often been abandoned when they still offer possibilities for artists. Using forgotten, abandoned and failed techniques rooted in history as a starting point, The ƒ/Ø Project is constantly experimenting to expand the idea of what a photograph can be in the contemporary world.
Contact: Anita Enriquez
Email | Website | Phone: 626-609-9465
Artist Highlight: Paul Mpagi Sepuya
Paul Mpagi Sepuya's complex, multi-layered work challenges viewers to reconsider the nature of photographic representation by incorporating and referencing ideas from the history of the medium and contemporary culture. This is Sepuya's first portfolio with The ƒ/Ø Project and first foray into historic printmaking techniques.
Sepuya says "this project is a study by the Artist of black material in reproduction and subject position. Digital photographs produced as salt-paper prints present questions about the fidelity of black as an unfixed value. Sepuya (Black) holds, presses, and affixes an unexposed Fuji Instant Film Print (black) against cut and torn work prints depicting fragments of bodies embracing in varying shades of (Black). These differing blacks collapsed through language as singularity Black, rendered in the soft, warm tones of the salt-paper prints, one of the earliest photographic printing technologies, notably used by William Henry Fox Talbot in his series Bust of Petroclus (1843).”