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  • tema2020

Tuesday 31st December 2019, 1:18pm

Just testing some older ideas. Looking at healing and erasure. Scratching into the family photos like cross hatching. The image/emulsion comes away slowly then I collect the powdered form of the image(similar to what Cal at Dirty Dozen did but with a different intention ). I then sprinkle it on top of the plaster covered photo. Image below is one I did with a B&W image. What does it say? There is an element of stripping the past and fragmenting it. As I mentioned before about fragmenting and abstracting: By abstracting an image, we can sense the fragmentation of our reality being visually represented. Fragmented worlds can only be represented (perhaps) in a fragmentary way or be presented as abstract. For abstract is all that a disjointed experience can be (unmoored from any linear narratives or any clear determinacies). To this end a lived experience of a divided and displaced past can be visualised through abstraction, be it a photographic, a filmic, painterly or other re-presentation of it. Then by taking the remnants of this fragmentation, and placing it back into the image with the plaster two things happen: the plaster attempts to heal (plaster cast the broken and fragmented) and simultaneously the powdered image remnants are abstracted and the narrative is a mirroring of the fragmented past. Literally cannot be put back together as it was- for better or for worse.

Similarly with the colour photo (the second image) that has been torn and put back together with the aid of plaster: the plaster is attempting to heal the tears, but cannot because the evsents of history are irreparable. The faces are covered as a form of protection or erasure of identity which relates bak to the aftermath of 1979 revolution in Iran.

The third photo is the cross hatching without the plaster and powdered image. HH



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