Title- Untitled Medium- ink on paper Dimension- 14’’x 22’’
Title- Untitled Medium- ink on paper Dimension- 14’’x 22’’
Title- Untitled Medium- ink on paper Dimension- 12’’x26’’
Title- Untitled Medium- Digital Manipulation Dimension- Variable
Title- Untitled Medium- ink on paper Dimension- 12’’x 18’’
Title- Untitled Medium- Digital Manipulation Dimension- Variable
Title- Untitled Medium- Digital Manipulation Dimension- Variable
Title- Untitled Medium- Digital Manipulation Dimension- Variable
Title- Untitled Medium- ink on paper Dimension- 14’’x 22’’
Title- Untitled Medium- Digital Manipulation Dimension- 14’’x 22’’
Title- Untitled Medium- Digital Manipulation Dimension- Variable
Title- Fragmented Image i Medium- Digital Manipulation Dimension- Variable
Title- Fragmented image ii Medium- Digital Manipulation Dimension- Variable
Title- Gregarious Insect i Medium- Digital Manipulation Dimension- Variable
Title- Untitled Medium- Digital Manipulation Dimension- Variable
Title- Paper Monster Medium- ink on paper Dimension- 11’’x 24’’
Title- Untitled Medium- ink on paper Dimension- 12’’x18’’
Title- Poor image iv Medium- Digital Manipulation Dimension- Variable
Title- Untitled Medium- Ink on paper Dimension- 5’’x12’’
Title- Poor image i Medium- Digital Manipulation Dimension- Variable
Title- poor image ii Medium- Cyanotype on paper Dimension- 6’’x 8’’
Title- poor image iii Medium- Digital Manipulation Dimension- Variable
Title- zine issue i Medium- digital print on paper(100gsm) Dimension- Variable
Title- zine issue ii Medium- digital print on paper(100gsm) Dimension- Variable
Here I want to reintroduce the "poor image" argument by "Hito Steyerl", and relocate that idea and explore my work(images) as an alternative representation. The poor image is a copy in motion. Its quality is bad, its resolution is substandard. It is a ghost of an image, a preview, a thumbnail, itinerant image distributed for free, squeezed through slow digital connections, compressed, reproduced, ripped, remixed, as well as copied and pasted into other channels of distribution. The poor image is a rag or a rip; an AVI or a JPEG, a lumpen proletarian in the class societyof appearances, ranked and valued according to its resolution. The poor image has been uploaded, downloaded, shared, reformatted, and reedited. It transforms quality into accessibility, exhibition value into cult value, films into clips, contemplation into distraction. The image is liberated from the vaults of cinemas and archives and thrust into digital uncertainty, at the expense of its substance. The poor image tends towards abstraction. But there is also the circulation and production of poor images based on cell phone cameras, home computers, and unconventional forms of distribution. Its optical connections—collective editing, file sharing, or grassroots distribution circuits—reveal erratic and coincidental links between producers everywhere, which simultaneously constitute dispersed audiences. The circulation of poor images feeds into both capitalist media assembly lines and alternative audiovisual economies. In addition to a lot of confusion and stupefaction, it also possibly creates disruptive movements of thought and affect
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