Electronic chips are collectively the invisible nervous system of our wired world, and in both their analog and digital formats, are visually dynamic landscapes. But Transylvanian photographer Maximilian Tomozei sees electronic chips another way, as receptacles of personal information, whether it of identity, location, finances, or other data.
For Intelity, Tomozei took macrophotographs of electronic chips, then printed them out in C-type matte to create what he calls a “conceptual typology.” Intelity, Tomozei explains to The Creators Project, is a portmanteau of two terms—“intelligence” and “identity.”
“The information contained by the electronic chips, such as subscriber identity modules, is sufficient to provide a socioeconomic portrait of each modern individual,” he says. “These cold pieces of technology have the power (once reunited) to totally represent its possessor becoming a source of centralized data for efficiency success and personality and classification.”
“Identity, coordinates, earnings, expenses, health, transportations, communications and even habits and opinions—every gesture is similar to a dialogue and leaves a binary trace,” Tomozei adds. “A huge amount of our exchanges are made through such technologies, proving that human and machine symbiosis is already established and is slowly became part of our everyday life in the name of progress.”
Paradoxically, Tomozei points out, the user is unable to comprehend their own possession. He compares this to a host-parasite relationship.
“Throughout conceptual typology the viewer is able to comprehend the variety of electronic chips models and designs that evoke electronic versions of ordinary individuals,” says Tomozei. “All the photographs are processed in order to simulate traditional portrait photography revoking the artificial aspect of the subject.”
To create the works in Intelity, Tomozei pretty much let the macrophotography do the work. The only real editing involved isolating his subjects from their backgrounds, then adding a type of light that evokes portrait photography.
The macrophotographs are voluntarily named with numbers, evoking a digitized process. The only trace of humanity that can be identified, Tomozei emphasizes, is within the usage marks of everyday life—the scuffs and gouges—re-integrating the human aspect.
Click here to see more work by Maximilian Tomozei.