When depicting a story during the Early Renaissance, artists would put different parts of the plot in the same image. A disorientating effect of this is that the main characters appear in several versions of themselves, with their actions relating to different points in time and space. Multiple times and locations are thus united within the clear boundaries of the painting. This way of presenting a narrative is
called simultaneous succession.
Although there are no direct narratives being played out in Jacob Felländer’s photographs, they provide an analogous summary of events. They are created
through a series of exposures, each of which adds their own ‘present’. The still image thus becomes an expression of an extended span of time, with snapshot moments layered on top of each other.
The locations are viewed from several different points in space and time, and the result moves away from what is traditionally seen as the key characteristic of the photograph – its ability to freeze particular details in the stream of reality.
The overlapping and doubling of images creates a distinctly painterly impression, which is further enhanced by the size of the photographs and the intensity of the colours. In the world conjured up by the works, the present, the past and the future are practically inseparable from each other. It is hard to decide whether time is standing still or moving at infinite speed.
Niclas Östlind, curator and doctoral student at the School of Photography, Gothenburg University.