Arsen Revazov works using the rare technique of infrared photography and shoots with a medium format film camera with a wide-angle lens. The result is a mixture of reality and the looking glass — beauty on the verge of art and life. "When shooting on infrared film," says the artist himself, "the result is a world that, on the one hand, is completely inaccessible to our vision, on the other, absolutely real, and on the third, obviously beautiful."

Trajan's Forum and the People
2012
Pigment print on watercolor paper
80 × 180 cm

Arsen Revazov works using the rare technique of infrared photography and shoots with a medium format film camera with a wide-angle lens. The result is a mixture of reality and the looking glass — beauty on the verge of art and life. "When shooting on infrared film," says the artist himself, "the result is a world that, on the one hand, is completely inaccessible to our vision, on the other, absolutely real, and on the third, obviously beautiful."

Arsen Revazov’s new project includes 35 photographs presented in a "long" format measuring one meter by two, or, more simply, one to two. Classic Venice and Rome, ultra-modern Singapore, surreal Stockholm, fabulous Australia — everything phantom and real, everything huge and exciting, everything static and everything in motion. These photographs are photographic canvases where there is a perspective, sometimes unusual, where many details create a single plot. They breathe, like a painting painted by a master breathes.

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"Catching life and its greatness is the talent of a photographer as a contemplator. Moving away from postmodernist attitudes and focus on concepts and ideas, Arsen returns to simple beauty, skillfully finding fragments of the ideal in the real world, which appear to the viewer in their monumentality."

— Irina Meglinskaya, curator

Mixed Forum 2012 Pigment print on watercolor paper 80 × 180 cm

The boats are ready and waiting. 2012 Light Jet, Diasec 93 x 200 cm

Tree in Vines 2012 Silver print on baryta paper 178 × 83 cm

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"… The specificity of photographic time, this yet another forgotten frontier of thought, recalls itself in Arsen’s photographs by its similarity to the first daguerreotypes, when a long exposure subtracted from the frame everything that flickered, especially people, and left the stable. The world then desired stability (it ended with a world war) and was inhabited by ghosts. Inviolability, not stability."

— Alexander Evangeli