For Hauser, the application of techniques goes further than craftsmanship; in many projects it embodies the essence of his visual poetry. In this work, he applies photographic imagery as paint in a way that resembles the ancient Japanese art of marbling, Suminagashi. By radically distorting the visual qualities of images collected from the public domain, he erases their intended narrative. The results are reminiscent of action painting, where the work derives its power from the direct way in which the colours, textures and kinetic quality of the strokes of paint speak to the audience.
In Paradisum, - on display during BredaPhoto 2022 - presents to us a fluid garden, in which sensory freedom is reclaimed from images that exist in public space found in Breda, that normally capitalize on our receptiveness to colours and textures by instrumentally nudging us to consume. The end results propose that an absence of narrative can open new ways of experiencing the metaphysical.
The fysical presentation at BredaPhoto is an immersive photoprint of 12 x 2 meters; an apotheose created with a collage of images from public space treated in the same manner as the individual images.
A selection of the individual images are shown here on this website. Although the presented images are limited in number Hauser emphasizes it is impossible to consider this collection as complete, since the ways in which photographic reality can be distorted are infinite.
