11 posters, tempera, pencil, 39”x27½”/100cmx70cm
In this project, C.T. Jasper further explores his interest in the poster as a unique tool to communicate ideas after his former installation engaging the same medium, Hunting for Pheasants. While Hunting for Pheasants consisted of posters of figures of political assassinations, AFTERimage presents thirty collaged posters for films that do not exist and will never be made. Of particular interest to the artist for both of these works is the Polish School of Posters of the 1960s and 1970s, less in its particulars and more so as a phenomenon. The posters produced in this school hardly included images of movie stars. Rather, they aspired to represent the essence of a film through symbolism and a conceptual approach that cleverly seems to reverse an assumed hierarchy, as if the ‘advertised’ films were made for the sake of posters, not the other way around. Many of the artists that formed the Polish School of Posters had no former training in graphic design, and the originality of their posters speaks to what essentially was the creation of a new medium for them. In AFTERimage, the artist takes on this unique medium and questions if it is as anachronistic as it seems. As a tool developed to deliver a very concise, synthetic and simplified piece of information, its value in this regard lends itself with uncanny effectiveness in the present context of a furiously fast paced environment of information transfer that the Internet provides.