​​​​​Pictorial Pixelism

A perceptual research in image-making

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Pixelism designates a specific line of research within my photographic practice. It is not a style, nor a visual effect, but a method grounded in perception—an inquiry into how images can remain dense, tactile, and present under contemporary digital conditions.

At its core, Pixelism emerges from a deliberate shift in attention. Instead of seeking clarity, optimisation, or visual perfection, it operates at the threshold where fluctuation, instability, and material residue become perceptible. The image is not conceived as a transparent representation of the world, but as a field of tension between light, sensor, time, and perception.

This research unfolds along two complementary dimensions. On one hand, it involves a precise technical discipline: a way of working with exposure, sensitivity, and noise that treats the photographic apparatus not as a neutral instrument, but as an active participant in the formation of the image. On the other hand, it requires a curatorial and conceptual positioning, through which the images are articulated as a coherent body of work—situated within broader questions of perception, attention, and visual culture.

Pixelism does not aim to propose a closed system. It remains open, adaptive, and context-dependent. Its coherence lies not in repetition or formula, but in the persistence of a gesture: allowing the image to appear without forcing it, and accepting uncertainty as a productive condition rather than a flaw.

The sections that follow articulate this research from two perspectives. The technical practice outlines the concrete conditions through which pixelist images are produced, while the curatorial manifesto situates the project conceptually, historically, and perceptually. Together, they define Pixelism as an ongoing investigation—one that continues to evolve through images, texts, and publications.

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