Using a combination of modified printers and scanners,Thomas Hjelm creates physically engaged works which often adopt text and slogans.The presentations of which raise questions concerned with the ubiquity of seductive communication, and the aesthetic choices of mass media.
Hjelm’s works are symbiotically digital and physical; by creating his imagery with scanners there is an intimacy in production as the object is pressed against the glass, which results in a dissociative flatness. This flatness is combated by the physical interjections into the surface of the canvas, degenerating the hierarchical importance of the materials.
In turn, the printers are modified so that they can only produce unique imagery, going against their primary function of mass production. The works are created spontaneously, built through numerous layers of scanned imagery and paint, which are printed over themselves with limited control- pushing and pulling the linen through the machine as it works . When Hjelm works in cohesion with the machines faults he describes this as the ‘Error State’; a pure form of imperfection, where man and machine are reduced to their temperamental nature.