Post-Digital Burn, 2020-2025

XOX (Post-Digital Burn), 2021, Blowtorch burned lenticular print, 2.70 × 0.90 m (3 panels, 0.90 × 0.90 m each) / Exhibition view, Post-Digital, Museum of Contemporary Art Sorocaba, 2022

XOX (Post-Digital Burn), 2021, Blowtorch burned lenticular print, 2.70 × 0.90 m (3 panels, 0.90 × 0.90 m each)

XOX (Post-Digital Burn), 2021, detail, Blowtorch burned lenticular print, 2.70 × 0.90 m (3 panels, 0.90 × 0.90 m each)

X (Post-Digital Burn) (D12, D13, D14), 2021, detail, Blowtorch burned lenticular print, 0.60 × 0.60 m each panel

X (Post-Digital Burn) (D13), 2021, Blowtorch burned lenticular print, 0.60 × 0.60 m

O (Post-Digital Burn), 2021, Blowtorch burned lenticular print, 0.60 × 0.60 m and 0.90 × 0.90 m / EExhibition view, DEJA VU, Bluerider Gallery, Shanghai, 2021

Self-Portrait II (Post-Digital Burn), 2024, detail, Blowtorch burned lenticular print, 1.10 × 1.70 m

Self-Portrait IV (Post-Digital Burn), 2024, detail, Blowtorch burned lenticular print, 0.90 × 1.20 m

Self-Portrait III (Post-Digital Burn), 2024, detail, Blowtorch burned lenticular print, 0.90 × 1.20 m

Self-Portrait I (Post-Digital Burn), 2022, Blowtorch burned lenticular print, 1.10 × 1.20 m

THE END OF ART (Post-Digital Burn), 2024, Blowtorch burned lenticular print, 1.10 × 1.20 m

THE END OF ART (Post-Digital Burn), 2024, detail, Blowtorch burned lenticular print, 1.10 × 1.20 m

THE END OF ART (Post-Digital Burn), 2024 / Obsolete Hallucination (Post-Digital Burn), 2024 / 1.10 × 1.20 m each / Exhibition view, The End Of Art Is Not The End, Bluerider Gallery, London, 2024

Obsolete Hallucination (Post-Digital Burn), 2024, detail, Blowtorch burned lenticular print, 1.10 × 1.20 m

I AM NOT A ROBOT, 2024, Blowtorch burned lenticular print, 1.10 × 1.20 m

(…) Pascal Dombis is equally captivated by ends — in art as in writing — and by beginnings. He gestures to the negative hands of cave art in the series Self-Portrait (Post-Digital Burn), burning his own handprint onto a lenticular surface with infinite variations of color. It is a radical, almost iconoclastic move, but one that adds rather than subtracts an image. The work evokes the debate on the role of hands in art, dismissed by da Vinci’s claim that “La pittura è cosa mentale”. Technology has always driven advances in art techniques. Pascal Dombis relentlessly turns to the technologies of his own time to explore the world they are transforming.

Excerpt from Multiplying Points of View by Dominique Moulon
Pascal Dombis. Post-Digital, Skira, 2025, p. 78 à 81

(…) Si Pascal Dombis se passionne pour les fins, celle de l’art comme celle de l’écriture, il s’intéresse aussi aux débuts. Car c’est aux aux mains négatives de l’art pariétal qu’il fait référence lorsqu’il brûle une surface lenticulaire aux infinies variations colorées selon les empreintes de ses mains, comme dans la série Self-Portrait (Post-Digital Burn). Le geste est radical, presque iconoclaste, si ce n’est qu’il ajoute de l’image plutôt que d’en retirer. Il évoque ainsi le débat sur le rôle de la main dans l’art, que de Vinci avait éradiqué en clamant que la peinture était affaire de l’esprit : « La pittura è cosa mentale ». Force est de reconnaître que les techniques n’ont eu de cesse de faire évoluer les savoir-faire artistiques. C’est ainsi que Pascal Dombis use avec insistance des technologies de son temps pour interroger le monde tel qu’elles le métamorphosent.

Extrait de « De la multiplication des points de vue » par Dominique Moulon
Pascal Dombis. Post-Digital, Skira, 2025, p. 78 à 81