Pentimento marked a significant and exciting shift in Jacob Felländer's work with the introduction of drawing and painting - challenging their relationship with photography. Pentimento is defined as an alteration in a painting, evidenced by traces of previous work: an original draft or under-painting that shows through with the use of infrared X-rays or when the top layer of paint has become transparent with age. "When is an image more a film than a photograph? When is a photograph more a painting than a photograph? The border territory fascinates me.", Jacob Felländer.
Felländer uses ancient, rebuilt analogue cameras to multiexpose his negatives whilst simultaneously winding the film forward throughout the frame; allowing for time, space and perspective to drift. Paint and charcoal is applied for the first time in this body of work, highlighting the shapes and forms Felländer sees in the underlying exposures and bringing them to the surface; thus pentimento. He cites Turner, Rembrandt, Caravaggio, Anselm Kiefer and Robert Frank as influences.
Not only does this work challenge the boundaries between photography and painting/drawing, but the literal, physical boundaries of space. And time. A traditional photograph is a frozen moment in time captured in one place; by using multiexposed images Felländer captures several moments over a span of time in the same, or differing, locations. He cites Alfred Wegener's theory of Continental Drift (1912) - the Earth's continents were once joined and have, over time, drifted across the globe - as the prompt for his moment of artistic discovery: "I wondered, if space drifts over time, perhaps time can drift over space… In memories, we experience time drifting from a linear path and skipping moments. What moments do we actually remember and what would it look like in a photo?"