i STRIVE FOR THE SUGGESTIVE STATE BETWEEN DREAM AND REALITY. I EXPERIMENT WITH COLOUR AND SHAPES ON FLAT SURFACES, AND CREATE IMAGES WHERE THE ABSTRACT MEETS THE FIGURATIVE.QUESTIONS ARISE BUT THEY REMAIN UNANSWERED.
Minneskonsolidering (Memory Consolidation)
Our memories become distorted over time. They are affected by our emotions and the details we have experienced as particularly important. They are affected by our opinions and our world views. Our memories are subjective, but we perceive them as absolute truths.
Photographs help us remember. Nowadays this also applies to digital images. But images can easily be manipulated. What has happened or not is not as important as what we think has happened, what we experience as the truth.
We leave traces behind us. We distort and manipulate what we want to remember, and above all what we want the posterity to remember. Our brains decompose, our memories are fading. A constructed memory is all that remains. An absolute truth in the form of manipulated images.
In the art project Minneskonsolidering (Memory Consolidation), I reflect upon how our memories change over time, and how we perceive the past in relation to what we are taking for granted as the truth.
This project was initially based on digital reproductions of paintings from the (western) art history canon. A historiography consisting of so-called masterpieces. I selected digital photos of well-known paintings and printed them on paper. Then, I worked impulsively and improvised. I drew and added paint to the images in a swift process where I tried to separate the movements of the hand from the conscious mind, thus evoking subconscious impulses. Automatic drawing.
I photographed the images, transferred them to a computer, manipulated them, printed them, and then I repeated the process.
I decompose the images. I distort them. I enhance colors and composition. I replace elements. I create something new out of something old. No end result ever occurs. There is no final product, only an endless process. A visual story telling where the past meets the present in a motion towards the future. I call each image a remix.
The purpose is to make the creative process visable, and to explore the subconscious and iconographically influenced art practice. However, the images are at the same time interpretations that can give access to new ways to regard or understand well-known motives. The questioning of originality versus reproduction. Where do we draw the line between ”genuine” and ”fake”?
What significance does words like ”original”, ”masterpiece” and ”genius” have today, during the escalating and constant flow of images we are exposed to each and every day?
Over time I have drifted away more and more from the initial ideas behind this project, and I’m interested in where the project will lead itself without my concious involvement. Automatic thinking.
I have moved away from the most obvious art historical references, and my starting point is more often popular culture and contemporary images, such as LP-covers.