Alin Huma is a photographer who treats the whole damned world like a found object. Highly formal, conceptual in a libidinal way, his work is about the activity of selection and its role in the fashioning of a life space. There is no life and art, no public and private; they are all the same. Perhaps he also treats his personal arena like a tourist; which is to say his practice is ambivalent, complex in a way that happens when a complex person gets a few cameras. As an artist he has shown in Australia, Europe and Japan. He is represented in public and private collections. Alin's work has been featured in Big, Art It, Photofile, Skychopper and numerous others.
For more information, visit Alin Huma's website here
End of Film, 1999:
These images originally formed the last part of a book Huma made in 1999-2000, produced in an 'end of century' spirit dealing with the fade-out of the global post-modern simulacra. These final pictures, which reversed the narrative of that book from flat back into 3D, were shot on a 35mm camera without viewfinder or focusing mechanism that the artist was using during this period in order to reduce some of the technical opportunities of photography that he felt shut down its conceptual power. This camera also happened to house much dust which was digitally retouched during production.
End of Film, 2011:
Mindful of the sea change photography itself has undergone during the decade, with the advent (and passing) of photobuckets and camera-phones, Huma decided to reprint these 1999 negatives as they were: un-retouched: as 'rayograms' of dust. Photo-sensitive film was tentatively used to capture 'reality' and 'dreams' and anything in between. In these pictures, the photographic image is vanishing into the background and what comes into focus are the sharp contours and shapes of the enlarged particles of dust; they have become the subject.