These works of Ákos Rajnai represent one of the possible endpoints of photography and visual imagery: they stand on the border between being photographs and images. Photographs, as they are made with a light-recording device and method: a very simple digital camera with minimal light sensitivity, the image of which was projected onto the canvas coated with a light-sensitive emulsion, and then recordedqwqwqlww there - this is what we see. And images, as a drying rack and a low-pitched football gate are clearly recognizable on them: they are represented by visual means. Meanwhile, they are barely photographs: I would call them "minimally informative sets of data created with a digital device," which are "stuck" in the haphazardly applied emulsion and are only a small step away from being viewed as mechanical paintings. And barely images: although the main outlines of the originally mapped, frame-like objects appear as sets of condensed intersections, the ratio between information and visual noise, its eventuality creates uncertainty.
This is ephasized by the accidental nature of the "sight": because of the technique used, the objects appear "negative", that is, they appear almost illuminated with the saturation of light; in the visual noise all spatial relationships are lost and the two objects are seemingly floating. The two objects, which are hardly worth mentioning are two (practically) found objects, ready mades, which in contrast to the duchamp pattern, lost all their objectivity. Perhaps this was the reason for their selection: barely objects, rather frames; they are strucures in a sense that they give structure to the image.
Photo, but hardly; image, but hardly – mostly condensation and rarefaction of points. Ambient scenery, that one can explore from point to point, sometimes following an allotted path, sometimes without aid, unbacked; once in the dark, other times in light. The reduction of these landscapes counteracts the usual image of our object-loaded world. It shows the endless openness of "almost nothing".
Dr. Attila Horányi
director, Art and Design Theory BA program,
Moholy-Nagy University of Art and Design Budapest