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Implosion

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Lucas Leffler
IMPLOSION_168#9 (Simulation), 2025
Wet collodion print of the Kodak building implosion (Rochester, NY, October 2007) on 168 iPhone screens (model 11), flush-mounted Frame
Frame: 102 cm x 178 cm x 5 cm
Unique artwork
Certificat d'authenticité
Available
© Lucas Leffler
Lucas Leffler
IMPLOSION_168#8 (Simulation), 2025
Wet collodion print of the Kodak building implosion (Rochester, NY, October 2007) on 168 iPhone screens (model 11), flush-mounted Frame
Frame: 102 cm x 178 cm x 5 cm
Unique artwork
Certificat d'authenticité
Available
© Lucas Leffler
Lucas Leffler
IMPLOSION_429#7 (Triptych Simulation), 2025
Wet collodion print of the Kodak building implosion (Rochester, NY, October 2007) on 429 iPhone screens (model 11), flush-mounted Frame
Frame: 163 cm x 280 cm x 5 cm
Unique artwork
Certificat d'authenticité
galerie Intervalle, Paris
Available
© Lucas Leffler
Lucas Leffler
168#1, 2024
Implosion
Wet collodion print of the Kodak building implosion (Rochester, NY, October 2007) on 168 iPhone screens (model 11), flush-mounted Frame
Frame: 102 cm x 178 cm x 5 cm
Unique artwork
Certificat d'authenticité
© Lucas Leffler
Lucas Leffler
IMPLOSION_140#1, 2022
Wet collodion print and UV print of the Kodak building implosion (Rochester, NY, October 2007) on 140 iPhone screens (model 7), flush-mounted Frame
Frame: 82,5 cm x 115,5 cm x 3,5 cm
Unique artwork
Certificat d'authenticité
© Lucas Leffler
Lucas Leffler
IMPLOSION_429#5 (Triptych Simulation), 2025
Wet collodion print of the Kodak building implosion (Rochester, NY, October 2007) on 429 iPhone screens (model 11), flush-mounted Frame
Frame: 163cm x 280cm x 5cm
Unique artwork
Certificat d'authenticité
galerie Intervalle, Paris
Available
© Lucas Leffler
Lucas Leffler
IMPLOSION_429#4 (Triptych Simulation), 2025
Wet collodion print of the Kodak building implosion (Rochester, NY, October 2007) on 429 iPhone screens (model 11), flush-mounted Frame
Frame: 163cm x 280cm x 5cmcm
Unique artwork
Certificat d'authenticité
galerie Intervalle, Paris
Available
© Lucas Leffler
Lucas Leffler
168#2, 2024
Implosion
Wet collodion print of the Kodak building implosion (Rochester, NY, October 2007) on 168 iPhone screens (model 6), flush-mounted Frame
Frame: 91 cm x 163 cm x 5 cm
Unique artwork
Certificat d'authenticité
Available
© Lucas Leffler
Lucas Leffler
168#4, 2025
Implosion
Wet collodion print of the Kodak building implosion (Rochester, NY, October 2007) on 168 iPhone screens (model 6), flush-mounted Frame
102 x 177 x 5 cm
Unique artwork
Certificat d'authenticité
Available
© Lucas Leffler
Lucas Leffler
168#3, 2025
Implosion
Wet collodion print of the Kodak building implosion (Rochester, NY, October 2007) on 168 iPhone screens (model 6), flush-mounted Frame
102 x 177 x 5 cm
Unique artwork
Certificat d'authenticité
Available
© Lucas Leffler
Lucas Leffler
IMPLOSION_429#6 (Triptych Simulation), 2025
Wet collodion print of the Kodak building implosion (Rochester, NY, October 2007) on 429 iPhone screens (model 11), flush-mounted Frame
Frame: 163cm x 280cm x 5cm
Unique artwork
Certificat d'authenticité
galerie Intervalle, Paris
Available
© Lucas Leffler
Lucas Leffler
IMPLOSION_168#10 (Simulation), 2025
Wet collodion print of the Kodak building implosion (Rochester, NY, October 2007) on 168 iPhone screens (model 11), flush-mounted Frame
Frame: 102 cm x 178 cm x 5 cm
Unique artwork
Certificat d'authenticité
Available
© Lucas Leffler

Lucas Leffler’s photographic sculptures, created from discarded iPhones, reflect on a pivotal year: 2007. While Apple was revolutionizing photography with the launch of the iPhone, Kodak was shutting down its factories—signaling the end of the analog era. For the artist, these two events represent a decisive turning point. Refusing to let the medium vanish, he turns to ambrotype—a 19th-century photographic process—to etch images of onlookers watching the implosion of Kodak’s Rochester (NY) factories onto the screens of smartphones. The iPhone, an omnipresent technological object, is thus transformed into a passive support. This poetic gesture offers Kodak a symbolic revenge over Apple. Through this fusion of epochs, Leffler pays tribute to analog photography in a quiet act of resistance.