Chilean printmaker, painter, draughtsman and video artist Eugenio Dittborn has been creating what he terms ‘Airmail Paintings’ for the past four decades. These works, executed on brown paper, cotton duck or non-woven fabric, comprise found images originating from various media, such as books and magazines. Dittborn sees his appropriation as a means of ‘completing the visibility’; disseminating ‘lost’ images – perhaps only viewed for a few seconds when one is flicking through a magazine – through their postage and elevation into the gallery. The artist considers the folds in the paintings, made to fit the works into envelopes, as the contours of their passage, the lines on maps, and the ‘traces of the cultural and political landscapes through which they travel.’ ...
