Shulman’s starting point is cinema, the most accurate simulation of life.
Each 90 minute film features roughly 130,000 frames, each of them represents one of the links of the genetic code of the story. The works are created by compressing all of them in one single image, through extremely long exposures.
The scenes are added one on top of the other, the audio disappears, the movement is condensed, logical consequentiality loses its sense for a completely emotional impression. Human figure is sometimes more recognizable, other times it’s lost among ephemeral and unnamed stains of color.
Aesthetically close to a photographic transposition of Gerard Richter’s work, Shulman’s photographies are the result of a synthetic process mate out of additions where, to understand the whole, details need to be given away.