For the last four years, I’ve been working on a series called “Resurfaced“. These pieces are created from surfaces that I’ve discovered and documented during travels to Asia, America, Africa, and Europe.
Each surface typically has four dimensions; length, height, depth – and time. By virtue of the public location where each surface was discovered, these compositions are essentially ephemeral. Over time, whatever grabbed my attention and inspired me to capture it, will inevitably ev0lve: new layers will inevitably create new compositions.
I am particularly intrigued by surfaces with printed postings, wanted/missing ads, public announcements, graffiti, social and political manifestos, and so on. Some surfaces have layers upon layers of paint, cracks, repairs, and often unascertainable materials or barely legible messages that just cry out to be chronicled. There are socio-archeological dimensions to this project.
Not always, but often, I juxtapose one or two surfaces to create new or to hide elements, thereby creating entirely new compositions, new surfaces with often only partially told or fragmented histories. Just like when I stood there and marveled at the surfaces, somewhere in the world, I want the viewer of my work to also discover something new – every time they look at a piece from the Resurfaced series.
Regardless of medium, whether I’m painting, filming, photographing, or writing, I tend to put a great deal of trust in serendipity. While there’s always some level of structure in every project I undertake, the real magic emerges when I manage to keep the process fluid – and wholeheartedly embrace unpredictability.
Joakim Lloyd Raboff