Idris Khan emerged as a force in contemporary art and new conceptual photography soon after graduating from Royal College of Art, London, in 2004. He gained immediate attention for his layered images derived from multiple photographs and scans of key philosophical and theological texts, seminal musical scores, and iconic artworks sourced from art history.
Every… Page of the Holy Quran (2004), for example, condenses every page of the Quran into a single undecipherable but sublime image; whereas Every… page of Susan Sontag’s Book ‘On Photography’ (2004) reads as a more basic attempt to somehow inject knowledge into a photographic image. At the core of Khan’s practice is the metaphysical collapse of time into a single moment, the desire to compress or highlight memory, and an elevation of poetics over politics.
Stained and waxed Tasmanian Oak timber frame; UV-blocking acrylic glazing; float mounting using thread-through Japanese tissue paper hinges with purified wheat starch adhesive; cottonfibre museum mount board and spacer; rigid non-porous backing board (3mm Dibond) with insulating inner board (3mm Coreflute); sub-frame with inbuilt split-batten hanging system for easy and secure wall attachment.
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