sane since defrauded
Our view of the world is unique and cannot be shared. A fugitive testimony to a moment lost, a photograph simulates the act of seeing, it is a physical product of subjective perception. It is assimilation, rather than praxis for memory function. The automatic writing of light transcribes an abstraction open to a multiplicity of semiotic meaning usurping any claim to authorial positioning. With artifacts quickly forgotten, narratives incessantly changing, and perceptions constantly shifting, a photograph emerges as a stand-in approximation subjectively informed. Paralleling the soft imprint on the emulsion with the impression an experience leaves in the folds of one’s memory, the complete story of the moment relies on the narrative one builds around it. As in the case of the Rorschach cards, each photograph provides room for interpretation, offering contradictory and complicit narratives stemming from the same image. Bracketed in a kind of aoristic limbo, these images aim to shed light on the mutability of memory and falsely buttressing the mnemonic pretext of photography. Through the appropriation of archival imagery, visual sovereignty is usurped through mimesis.
