Series of animated sequences, printed in the ‘Lenticular print technique’, in which the animation moves according to the viewing angle of the audience in the gallery.
There are two series of limited editions: Untitled 14 prints(2016), was exhibited the first time in Copenhagen; and Modern Man 19 prints(2017), was exhibited the first time in london Curated by Louisa Macmillan.
Rich Mix Gallry, London 2017
'Animated Images is Hijazi's response to our changing relationship with new media. Drawing on her experience in animation and film, she has used innovative lenticular printing technology to make artworks.
White, mannequin-like figures are set against background grids, trapped in time and space by their incessant, repetitive actions (from emotional reactions to military training routines, to the hypnotic inertia of being addicted to bad news). In order to unlock the shifting images, the viewer must also perform small, repetitive movements.
Newly-familiar elements of modern life (such as frames taken from social media and instinctive movements from using portable or gaming devices) explore the different ways we interact with the world and process the relentless flow of images.
Hijazi questions our social responsibility as both makers and consumers of the news. Whether actively seeking overexposure, or passively suffering from it, the sheer amount of information and number of digital images has desensitised and dehumanised us as viewers, who are at the same time viewed through the sharp prism of her work.'
Animated images commissioned by Shubbak in Partnership with the British Council.
Video documentation, Copenhagen 2016
In Untitled, the figures are contrasted with patchwork backgroungs of monochrome images taken from internet searches and posted videos documentary footage, which at times enter the foreground and threaten to engulf the figures. Despite their harshness, the tiny images have been reduced to pixelated decorative elements, and either reveal themselves upon closer inspection, or turn into shimmering, colorful surfaces devoid of any detail.
Some detailed shots
Video documentation, London 2017 - Lintecular prints and video instalation
In Modern Man, the indistinct figure, with eyes closed, is trapped between the abstract, virtual and tangible, real worlds, unable to tell them apart. This confusion is increased by the realistic presentation of both the subject and background in three dimensions, full technicolour, and the addition of desktop images.
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