The periodical resurgence of technological innovations has always been accustomed to the act of “upgrading”. The eternal sacrifice to uphold traditional values has made society slowly modernize because of the unpromising immediate change.
In his series, covered in the dark, Qendrim Hoti examines these ideas through the physical construction of an old tradition being concealed by the new. Wood, one of the oldest construction materials, is used to cradle traditional darkroom photographic paper. With this series, Hoti asks why are we so keen on upgrading when a cheap plastic covering gives us the same understanding as the superior underneath?
Through the act of displaying a sheet of unexposed photographic paper in a lighted space, Hoti aims to give the viewer the essence of photography itself. By choosing not having an image represent his idea, Hoti is able to hold the pure concept of creation. In his work, Walnut, the unexposed paper is permanently situated in darkness by a covering of opaque vinyl. Yet as a result of the material thinness of its protector, the photographic paper is revealed to the viewer through a subtle protruding profile. This act of lamination allows for Hoti’s work to no longer to be limited by the traditional confines of the four edges of paper, allowing instead for him to examine the physicality of photography. Through the use of both analogue photographic materials and digitally printed vinyl, Hoti is able to establish a physical as well as a metaphorical bond between traditional and contemporary techniques used in photography.
Born in pre-war Kosovo, Qendrim Hoti lived his childhood in northern Manitoba before moving to Ontario and later experiencing teenage life in New York City. Switching from graphic design to visual art in New York City, Hoti moved back to Ontario and settled in his current home of Toronto. Hoti holds a BFA Honours from York University.