The past ten years have seen Luoma continually working with entirely abstract visual content through the medium of photography. His method involves a calculated, analogue technique of repeatedly exposing a single negative to lines of light, sometimes up to thousands of times, thus generating what has been denoted as “abstract photographs of time”. Photographic function becomes content itself: what Luoma’s works have in common is their self-referentiality, in that they point towards the moment of exposure – the process of their own creation- in a medium-reflexive way. Though intricately systemized parameters and number sequences are determined by Luoma prior to the exposures, he never knows what the final result will look like. His works are constituted by their inherent tension of order and chance.
When we look at the new works on display from Luoma’s current series Adaptations (2015), we are at first surprised to learn that they are modeled on pieces by Pablo Picasso and Diego Velázquez. However, the longer we look, the more apparent do the Ladies of Avignon, the Woman with Mandolin, and the Maids of Honor, originally created by the two Spanish painters in the early 20th and mid-17th centuries respectively, take form before our eyes, somewhere in between effects of trompe l’oeil and Magic Eye. Following his previous solo exhibition Variations on a Standard of Space at Gallery Taik Persons in 2013, Luoma’s aim “to produce images that visualize the passage of time” continues to be of particular interest.