porcelain fragility
What initially drew me to the photographic medium was the mnemonic pretext of the technology and its complicit relationship to the past. The complexities of what it means to hijack fragments of time lie in the dichotomy of what is and isn’t included within the frame. Although a product of lived experiences, the hundredth-of-a-second captured has infinite readings — the poetry of the enclosure is met with the minds’ need to create meaning. The image painted by light counterfeits the instance. Yet, if selfhood is built on an accumulation of memories what happens when they are diluted by a constantly shifting narrative? How do we come to understand ourselves if not in relation to our past, our history, our heritage? With artifacts quickly forgotten, narratives rapidly changed, perceptions incessantly shifting, our identity is unfixed. This series explores how selfhood is shaped by memory and how both are manipulated, informed, and buttressed by the visual narrative of photography. It postures subjectivity as a product of accumulated experience indexed, a construct of the willfully forgotten and falsely fabricated, akin to photographs of yourself you delete or share - versions of yourself you deem acceptable or unacceptable.
