MINIPIXS (Series or single)

The MINIPIXS emerged during a transitional moment. They were not conceived as an autonomous series, but as navigational tools within a radical transformation process.

 

Before the four large-scale prints — DRY AFTER 10 MINUTES OF CHEWING, BEACH DAY, THANK GOD, WE MADE IT and REAL GODS GOVERNMENT — were folded into a single origami dragon, it was necessary to understand which image areas would remain visible, which would disappear, and which would reconfigure. The MINIPIXS functioned as analog orientation points: quick, intuitive drawings that condensed the essence of the large works without imitating them.

 

Formally, they appear light and immediate. Conceptually, they carry historical weight. The four original prints were officially marked as delivered, yet remained stuck in Japanese customs for weeks. Their possible permanent loss was real. Only their eventual return made the transformation into the dragon possible. This cycle — disappearance, return, mutation — frames the meaning of the MINIPIXS.

 

They are not preparatory sketches in a conventional sense. They are transitional artifacts. Independent siblings of larger works that ceased to exist in their original form.

 

They can stand alone. As a series, however, they form a coherent memory system — four condensed reflections of a moment when image became object, and ownership became process.

 

The MINIPIXS are part of the upcoming exhibition BETROGENER TRAUM and belong to AREA 06 — Clarity & Action.

Photography © Alex Wendler