Note on work for the TVG exhibition – 2

After a few days away from this, I took another look at what I have put together so far for this, and the bits that intrigue me are the intermediate areas between the old photos and the new, where one is fading out and the other gradually becoming clear. There is something in this space that I want to explore further, to do with change, the reality of history and memories. More to come on this in future posts.

Secondly, I have been looking at the idea of how we store our memories, and in particular our photographs (which recall the memories). I have seen other students putting work relating to memories in boxes, but I would like to think about them as packaged ideas, that one can take out to look at. To this end, I have been experimenting with enclosing an image or images within a clear box, that one can pick up and consider from a variety of angles and directions. The clear barrier between the viewer and the memory appeals to me in the same way as the glass on a picture or photograph frame does, but the three-dimensional aspect adds something – the ability to look at a memory from different points of view and perspectives, which echoes how some events and what happened at them keep reappearing in our minds.

There is also something to consider here about how certain memories, which we take out to look at over and over again, may be holding us back from making necessary changes to our lives. An example might be a relationship break-up, where certain behaviours by the ex-partner are regularly re-examined. We can only move on if we decide to forget these issues. I have put together a little sequence below to illustrate this idea. I am still working on how to suspend the photographs within the cube invisibly, so for now I am using red thread, and on reflection, the Red Thread analogy works quite well, so I might keep it. (The images inside the box were something I had lying around, so are not significant. For a proper version, I will need to think about representations of specific memories.

I am also wondering whether a series of stcked boxes with different images and different stages of forgetting might work. I haven’t got enough boxes at present though, only three. Also, should the red thread extend outside the box on one side to simulate the connection with the photographer?

Advertisements

4 thoughts on “Note on work for the TVG exhibition – 2

  1. Catherine

    Thread from the corners works very well I think and I imagine extending the red thread further could depend on the identity of the photographer. I’m very intrigued by the idea of the photograph being de-constructed as memory fades.

    Like

    Reply

Leave a Reply

Fill in your details below or click an icon to log in:

WordPress.com Logo

You are commenting using your WordPress.com account. Log Out / Change )

Twitter picture

You are commenting using your Twitter account. Log Out / Change )

Facebook photo

You are commenting using your Facebook account. Log Out / Change )

Google+ photo

You are commenting using your Google+ account. Log Out / Change )

Connecting to %s