In contemporary online reality subjects, objects and the ethics governing them seem to adopt an additional ontological status, that what is today recognized as digital.
Patterns regarding the relationship between technique and reproductions are disrupted and redefined within cyber technology and cyberspace, a reality by-product of the notion of technical reproduction, instant circulation and broadcasting of information, transforming thus any notion of time, space, distance, technical reproduction, circulation and transmission of image. Allowing that technical reproduction gave a boost to information circulation and its mass dissemination, the internet as a medium paves new paths to the visual perception of viewers as well as to the artist’s sensory realization.
In his online digital prints, Dimitris Michalaros, transforms the traditional technique into a starting point for new documentations and impressions. His electronic matrix is the programming software and internet is the adopted environment for his digital printings in monitors and projectors. The programming language of his works through the immediate source code programming and customized by the artist along with bits and overlapping digital layers become at the same time narrations and a pretext of voyeurism, transforming everything private and imaginary to public and potential.
Algorithmic and reproduction images both taken from the internet and the artist’s personal archive of studies and research are used to create reproduction that are used in order to translate and be translated from one medium to another in linear codes and pixels. Michalaros is interweaving incongruous images and creates fragmented information, disrupting thus the vision with violent discontinuities which seem to keep swinging at the edge of an error. This certain artificiality bans the visual discipline of contemporary viewers, who are used to come across synchronized and coordinated images.
Dots and hatchings from engraving are used as a technique in order to give texture to the digital copy, however in Michalaros’ works reproduction results to an invariable visual copy. The artist’s subjective physical style blends with the objective perception of the image by the browser and therefore by the monitor and its presentation to the viewer. Minor deviations and enforced alterations resulting from the use of various browsers at the final printing/ presentation of the work, act as a comment to the software companies brutality that manipulate the users’ every day vision along with their aesthetics. Owning exclusively a digital work of art or a limited copy in a digital form showcases the evolution of technical tools and the speed of new mediums, while it’s concurrent existence and presentation on the internet does not place spatial limits but opens a new augmented horizon.
Art historian, museologist