Decay - The Poster


Curated by tz1PdHWyZmtWntsZmQjrDRRkfGvWSyRVBLoi
May 11, 2025 at 3:11 AM

Shot on the way to Shenzhen on an iPhone 14 Pro on March 26th 2025 Main Camera — 24 mm ƒ1.78 3628 x 2900 pixels Water bottle label and sunlight www.celadoor.xyz This mint documents my first print work. It was to be a run of 50 pieces but at least two are missing in the post. There is something strange about printing work that you have lived with digitally for many years however this work is challenging to show digitally as the native resolutions are often into an 8K pixel space. There is something even more strange about folding it up and putting it in an envelope. Poster materials: Butcher paper, UV printing, manual folding I have been exploring aspects of printing for a few years, but the decision to move forward was challenging. Prior to 2021, my work manipulating the panorama feature of the iPhone was a private and well-insulated endeavor. Even when I started minting on Hic et Nunc I was able to manage the entire process myself. Print meant talking to people about the process and is, ultimately, a step into a thing I know nothing about. The decision to make this poster crystalized around the idea of shipping a large format test print to multiple people, which led to concerns revolving around the costs of printing and shipping. The intent was not to make one archival print of an image - although I want to do that. Quantity is the goal, and it is reflected in the choice of materials (butcher paper) and the need to ship them folded (I am genuinely sorry for the creases). There is a comfort and familiarity in butcher paper; Until recently I had concert posters from the 80’s on my walls, and fond memories of unfolding the posters that often arrived in the sleeves of vinyl records. Choosing butcher paper for this project makes it an ephemeral work which will age, possibly yellow, and crack. The push to print is a recognition of the fact that work which revolves around pixel level detail and arbitrary rasters is not made for the small screens of social media, and these images often struggle with the fixed resolution of available commercial displays. The scale of this print is its most critical aspect, because it is large enough to have a substantial presence in a room. My hope is that you will embrace the moment this captures, and tack this print to your wall for a while,enjoying the emergent creatures and patterns in the image. DECAY (a series and a glitch) Decay is defined by shots with a specific glitch that yields intricate and disorderly groups of pixels, forming mottled patterns that occasionally fill the entire shot. This glitch first emerged in 2021 as the number of shots I was taking increased and my process crashed the iPhone in a variety of less helpful and more helpful ways. Decay is one specific example. One of my hangups about using consumer hardware is that I hesitated to present an edge case that I could not effectively duplicate. Howver at this point, in the middle of 2025, I am approaching 2000 shots that feature some aspect of this particular glitch. This is my favorite output type. It has the capacity to generate the greatest number of surprising results, producing chaotic patterns which deposit pixelated structures at different scales. At times, these look like they could be composed of tiny cubic bits of sand; grainy residue left behind by some core process that has been abandoned by the photo app. As with most of my work, each shot is generated in a similar way: moving the iPhone and the interlocutor (the object I am using to block the lens and act as a source of of reflected or transmited light for the sensor) relative to the available light. The shots are taken with similar repeated patterns of movement, up and down, typically moving left or right, with occasional contortions as the pattern of light limits the window of available movement within the panorama app. The unique outputs are created by very subtle changes in that movement, and in the intensity and spectral composition of the light sources relative to the pigment of the interlocutor. TECHNOLOGY These images are taken using the stock preintalled iPhone photography app. The images may be cropped or rotated. There is no post processing. All color is as it was when the shot appeared on the screen of the iPhone.
Shot on the way to Shenzhen on an iPhone 14 Pro on March 26th 2025 Main Camera — 24 mm ƒ1.78 3628 x 2900 pixels Water bottle label and sunlight www.celadoor.xyz This mint documents my first print work. It was to be a run of 50 pieces but at least two are missing in the post. There is something strange about printing work that you have lived with digitally for many years however this work is challenging to show digitally as the native resolutions are often into an 8K pixel space. There is something even more strange about folding it up and putting it in an envelope. Poster materials: Butcher paper, UV printing, manual folding I have been exploring aspects of printing for a few years, but the decision to move forward was challenging. Prior to 2021, my work manipulating the panorama feature of the iPhone was a private and well-insulated endeavor. Even when I started minting on Hic et Nunc I was able to manage the entire process myself. Print meant talking to people about the process and is, ultimately, a step into a thing I know nothing about. The decision to make this poster crystalized around the idea of shipping a large format test print to multiple people, which led to concerns revolving around the costs of printing and shipping. The intent was not to make one archival print of an image - although I want to do that. Quantity is the goal, and it is reflected in the choice of materials (butcher paper) and the need to ship them folded (I am genuinely sorry for the creases). There is a comfort and familiarity in butcher paper; Until recently I had concert posters from the 80’s on my walls, and fond memories of unfolding the posters that often arrived in the sleeves of vinyl records. Choosing butcher paper for this project makes it an ephemeral work which will age, possibly yellow, and crack. The push to print is a recognition of the fact that work which revolves around pixel level detail and arbitrary rasters is not made for the small screens of social media, and these images often struggle with the fixed resolution of available commercial displays. The scale of this print is its most critical aspect, because it is large enough to have a substantial presence in a room. My hope is that you will embrace the moment this captures, and tack this print to your wall for a while,enjoying the emergent creatures and patterns in the image. DECAY (a series and a glitch) Decay is defined by shots with a specific glitch that yields intricate and disorderly groups of pixels, forming mottled patterns that occasionally fill the entire shot. This glitch first emerged in 2021 as the number of shots I was taking increased and my process crashed the iPhone in a variety of less helpful and more helpful ways. Decay is one specific example. One of my hangups about using consumer hardware is that I hesitated to present an edge case that I could not effectively duplicate. Howver at this point, in the middle of 2025, I am approaching 2000 shots that feature some aspect of this particular glitch. This is my favorite output type. It has the capacity to generate the greatest number of surprising results, producing chaotic patterns which deposit pixelated structures at different scales. At times, these look like they could be composed of tiny cubic bits of sand; grainy residue left behind by some core process that has been abandoned by the photo app. As with most of my work, each shot is generated in a similar way: moving the iPhone and the interlocutor (the object I am using to block the lens and act as a source of of reflected or transmited light for the sensor) relative to the available light. The shots are taken with similar repeated patterns of movement, up and down, typically moving left or right, with occasional contortions as the pattern of light limits the window of available movement within the panorama app. The unique outputs are created by very subtle changes in that movement, and in the intensity and spectral composition of the light sources relative to the pigment of the interlocutor. TECHNOLOGY These images are taken using the stock preintalled iPhone photography app. The images may be cropped or rotated. There is no post processing. All color is as it was when the shot appeared on the screen of the iPhone.
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