Originally from Greece, Michail Mersinis’ work revolves around the utopian imaginary and the sense of place. By using photography’s elusive relationship with reality and its indexical qualities he makes work that superimposes the projected qualities of places with the real, working mainly through photography and sculpture.
Relying on notions of land art, the additional layers of history, storytelling and hearsay from the basic material from which contemporary hybrid notions of place emerge. By utilising the methods of travelling, picture-making and combining them with notions of a primary material as indicated by Presocratic philosophers, Mersinis makes works that exist between the document and the projection, which rely on the inherently photographic notion of latency. After the picture is made, and before the chemical development is finalised, both the real and the imaginary are states of equal importance and possibility in a state of existence which fluctuates from the scientific to the alchemical.
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