Sachin Kaeley’s small-format works play with the perception of eyes accustomed to the digital world. What initially brings the hyper-realistic aesthetics of digitally processed images to mind turns out to be the analog manifestation of such images – paintings in the age of digital re- and postproduction. The actual plasticity and depth of the works are only noticeable at second glance, when you gain an impression of the individual steps in their production. This initially involves Kaeley allowing his fingers to glide through deep layers of acrylic paint and gel, before subsequently treating this molded colour landscape – or alternatively, a plaster-cast of it – with (metallic) spray paint, varnish or lighting gel. Not only does the process of overlaying individual coats of paint and levels of pictorial treatment follow the techniques used in the genesis of digital pictures, at the same time it produces an aesthetic effect surprisingly similar to that elicited by the tools of digital image processing that lend photographs a three-dimensional quality by using shadowing and reflected light.
By transferring the techniques and aesthetics of digital image processing onto the 3D image, Kaeley takes hyper-realism to a meta-level, not by putting it to any external use but rather by implying it exclusively to reference the medium itself.
Leonie Radine, booklet for the exhibition „Speculations on Anonymous Materials“, Fridericianum Kassel