Claus Dicovskiy

“How strange. A disaster occurs and still a man notices a picture.”
Vladimir Nabokov, Laughter in the Dark

As photographers we obsess over the idea of the “moment”. And I emphasize  the word, “idea”. There might be a moment, in the non-photographic use of the word, in  which one might be without a camera, or not exactly feel up to taking a picture, and  subsequently, the photographer begins to worry about the “moment” that should be  captured. Naturally, one reaches for their iPhone, but is the handheld device apt enough  to capture that “moment”? For the photographer, most likely not. But the truth is there is no “moment”, but moments that make up the mise-en-place of life.

Further Removed is an exercise in observation; an ode to the unfolding of time in  response to the limits of human perception. The works on display demonstrate a range  of elemental and anthropogenic phenomena—the reflection of light; the tying of a boat  line; the kneading of dough; the windows into a construction site. On the surface of the  photograph these processes are materialized as either illusion or truth, or perhaps a  mixture of the two. As Plato put forward in book X of Republic, according to Socrates,  art is mimetic by nature and is third removed from the truth of the Forms. This body of  work then further problematizes the aesthetic inquiry by representing a schism between  the removing and imitative nature of photography and the material existence of the photograph.

Contact information 
Instagram: @claus_dicovskiy