They look like they would have been in place in an exhibition at the MoMA or Tate Modern, yet David DiMichele’s photographic installations from its Pseudodocumentation project, monumental at first glance, in fact, can fit a handkerchief. It takes time for the observer to notice the deception and to understand that DiMichele shows nothing but an imaginary but at the same time highly realistic miniature art-project.
DiMichele says he’s inspired by the works of the Robert Smithson, who breaks down the boundaries between sculpture, installation, and photography, and here he plays skillfully with the boundaries of reality in photography. The illusion of monumental size looks almost perfect, but it is just part of a learned game of visual trickery that the artist has used to manipulate our perceptions of reality.
Built-in miniature models, these mini-installation demonstrate meticulous care to the smallest detail of the decor, lighting with immaculate white walls, typical to the most exhibition spaces. The impression of vast volumes and installations in glass or metal created by the artist is emphasized by the addition of tiny benches or small characters depicting visitors.
