A Narrative of Melancholy Walks, digital photographic original, 2014
Closed Mouths Speaking Silence, digital photographic original, 2014
The Collector of Light Inside Bulbs, digital photographic original, 2014
The Freudian Cabinet, digital photographic original, 2014
The Mysterious Science of Religions and Vice Versa, digital photographic original, 2014
The Slow Collector of Speed, digital photographic original, 2014
The Soft Heart of Nature, digital photographic original, 2014
The Way We Remember Forgetting, digital photographic original, 2014
I prefer that my work speak for itself, though I am always open to discussion and exchange of opinion.
Through photography, filmmaking, drawing, and poetry, I seek to explore and respond to what I sense and experience in both my external and internal environments.
Perception informs both — and it is this belief (that there are multiple layers of perception, and an attendant desire to explore and present and re-present these multi-layers) that fuels and drives my artistic expression.
I am driven by eclecticism, by contrasts, and by mystery.
I believe in decay. I embrace the lost and discarded, as well as the patina that time produces. This aesthetic reflects what I am and what I do as an artist.
Process and Presentation Notes
My digital images are ideally presented (in physical form) as pigment prints — produced on a variety of fine art papers, using the latest high-quality professional art-printing services, and hand- and eye-checked by me.
Sizing depends on various factors, including the motif and the wishes of the client who will be living with the original. Generally, my prints range from 30 centimeters by 30 centimeters, to 120 cms by 100 cms.
I use a number of different presentation forms; some prints are aluminum-dibond-mounted and sealed beneath acrylic glass (“diasecs”), while others are left “naked” and mounted on MDF, a type of sturdy board — freeing the images from a need for framing — as well as lending them endurance and stability for their hanging state.
The physical pigment prints can be framed and placed beneath glass (with “passé-partouts” accentuating their physicality).
The printing process (preparation, choice of print size, paper used) is integral to the final stage of readying a photograph for a new “home”, whether an exhibition space, a workplace, or a personal residence.
The development of my pictures can include photography and drawing (using a range of digital and analogue tools), with their final printed state (in terms of exhibition and purchase) in the formats described. (Note: Each of the digital photographic originals that appears above is ready to become an original analogue pigment print.)
About the Artist
Born in Leicester, England, in 1963, Dean Pasch is a photographer, filmmaker, and poet. Between 1983 and 1987, Dean Pasch studied fine art and film in London and, in 1990, moved to Germany. He has lived and worked in Munich since 1999.
Dean Pasch’s multi-faceted work has appeared in print and online and has been shown in art exhibitions and film festivals around the world.
In the first part of 2015, some of Dean Pasch’s illustration work will appear in exhibitions in Scotland, as part of the Stanza International Poetry Festival, and at Berlitz Language Center’s “44 Pictures,” in Munich, Germany. His online multi-media project 53 Fragments began in September 2014, and runs until the end of September 2015.
Dean Pasch on Facebook, Twitter, Tumblr, and Vimeo
Dean Pasch’s Online, Multi-media Project 53 Fragments
Stanza 2015 (Dean Pasch’s work will be part of the exhibition “<erasure“.)
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