Drawing on the formal conventions of commercial stock photography, Jimmy Limit engages the graphic vocabulary of ULine’s industrial and packing catalogues. Limit recontextualizes the generic language of the catalogue and renders it absurd, eschewing coherence in favour of visual gratification. By displaying them in these uncanny settings, the artist compels us to see these banal things as inherent objects of beauty. For instance, presented in Limit’s well-balanced composition, a spring’s curvature becomes reminiscent of the idealized figura serpetinata of Renaissance beauties.
For the 12th issue of The Editorial Magazine, Jimmy Limit composed a new series of ULine-inspired photos. Printed on the glossy pages of a magazine, accessed by our page flipping, the indexed plastic pipe connectors, bungee cords, and ribbed tubes are returned to the source medium from which they were once extracted. – Loreta Lamargese
Jimmy Limit
PUBLISHED IN ISSUE 12
Drawing on the formal conventions of commercial stock photography, Jimmy Limit engages the graphic vocabulary of ULine’s industrial and packing catalogues. Limit recontextualizes the generic language of the catalogue and renders it absurd, eschewing coherence in favour of visual gratification. By displaying them in these uncanny settings, the artist compels us to see these banal things as inherent objects of beauty. For instance, presented in Limit’s well-balanced composition, a spring’s curvature becomes reminiscent of the idealized figura serpetinata of Renaissance beauties.
For the 12th issue of The Editorial Magazine, Jimmy Limit composed a new series of ULine-inspired photos. Printed on the glossy pages of a magazine, accessed by our page flipping, the indexed plastic pipe connectors, bungee cords, and ribbed tubes are returned to the source medium from which they were once extracted. – Loreta Lamargese
jimmylimit.com