KOBALT ELEKTRA - FOTO SERIE (2008)

Inspired by Vernor Vinge, Friedrich Nietzsche and patterns of (human) nature "KØBALT ELEKTRA - FOTO SERIE" thematically explores the concept of the humanistic singularity. In terms of how/tools, no camera was used.

  • Leigh Anthony DEHANEY
    Photographer
  • Honza FRANCIS
    PŘEPRAVA
  • Tamara ĆURČIĆ
    ZÁSKOK
  • Date Taken:
    May 1, 2015
  • Country of Origin:
    Czech Republic
  • Camera:
    None
  • Lens:
    None
  • Focal Length:
    4.15
  • Shutter Speed:
    1/33
  • Aperture:
    None
  • ISO / Film:
    None
  • Student Project:
    No
  • One Eyeland: Official Selection
    India
    May 1, 2015
    Official Selection
Artist Biography

Originally from Canada, Leigh Anthony DEHANEY is an experimental visual storyteller whose background is a mixture of fine arts and technology. Before studying photography, printmaking and Media Digital Arts at the Alberta College of Art & Design he received his B.Sc. Degree in Computing Sciences from the University of Calgary, Canada. He has participated in numerous group exhibitions and film screenings in North America, Europe and the Middle East. DEHANEY has also acted as juror as part of the selection committee for the Calgary International Film Festival (2006). His visual work consists of film or digital content often translated to fiber based materials and digital media. Most recently DEHANEY has lived and worked in Germany. He now resides the Czech Republic where he works with technology, mentoring and experimental speculative fiction.

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Artist Statement

I find that I am often inspired by experimental work and grey moments in time, more specifically, having a deep attraction to moments that conceptually and thematically revolve around the notion of “When are we?”. Projects often develop from observation, cultural immersion and occasionally research which frequently incorporate elements of exploration, artifact, (human) nature and time. One subject that I find compelling is social dynamics; amplified by the side effects of technology. My personal practice/gallery work often depicts conceptual portraiture within an accelerated world, much of which I believe has been largely influenced by unmarked visits to industrial Cuba, Eastern Europe and the Middle East.