Response Proposal for the Project: The Images That We Tell

Objects are the reflection of the personality of a person and his interest in his daily life and also the period when he lives in. Objects are like a memorial to us, a souvenir from a deceased family member or a nostalgia from an era. Some other people prefer to collect objects for a therapeutic use or for the knowledge: “One psychoanalytical explanation for collecting is that unloved children learn to seek comfort in accumulating belongings; another is that collecting is motivated by existential anxieties—the collection, an extension of our identity, lives on, even though we do not”. (Jarrett, Christian. “Why do we collect things? Love, anxiety or desire.” The Guardian, Guardian News and Media, 9 Nov. 2014, Accessed 29 Sept. 2017.)

These objects of collection are called “ephemera”. Ephemera are, according to the dictionary, things valuables that are used only once, for example: “Photos, leaves, stickers, old money, postcards, etc.”. So for this project, I want to represent fictive different moments in a life of fictive people with objects and photos. These images will be created by the “photogram” technique. “Photogram is a photographic image without using a camera by placing objects directly onto the surface of a photo-sensitive material such as photographic paper and then exposing it to light. The result is a negative shadow image varying in tone, depending on the transparency of the objects used. Areas of the paper that have received no light appear white; those exposed through transparent or semi-transparent objects appear grey.” (“Shop.” The photogram, Aquagram, Cliche Verre by Krisztian Kovacs [Paperback]—Lulu, Accessed 29 Sept. 2017.)

By doing so, I will collect these images to be placed in a book accompany by narrative texts in the first person describing the moment in these images. These texts will reinforce the narrative aspect of these images and too aware the viewer that the memory of this person is in these objects even if the person itself is absent. Overall this project have the ideology of the “still life” painting which is the reflection of the ephemerality of the human life time and also the objects of his possession become obsolete: “The life of the table, of the household interior, of the basic creaturely acts of eating and drinking, of the artefacts which surround the subject in her or his domestic space, of the everyday world of routine and repetition, at a level of existence where events are not all large-scale, momentous events of history, but the small-scale trivial, forgettable acts of bodily survival and self-maintenance.” (Bryson, Norman. Looking at the overlooked: four essays on still life painting. London, Reaktion, 1990.)

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