Memories string together pieces of our journey through this world into a life than a mere existence.
‘Pipe Dreams’ was born as a fantastical hope of trying to relate in an ernest sense to my physical surroundings. And in trying to weave a story of an object that is physically and philosophically part of my life, I hoped that I would learn more about my own self. Particularly, why it seems that my way of thinking has become old-fashioned in a world that quantifies everything and where, here and now is intrinsically related to outcomes than consciously living every moment of our lives.
And through this meditative stream of work, coming to know that moments that are long gone are somehow emotionally rooted to the objects that are scattered around me.
That we dream visually, lends credence to the idea of visual memories being the very back bone of our living. As such, creating a seemingly disparate, almost random body of works, and in trying to achieve iconographic visual bookmarks of my life seemed like a way to reveal myself. In as much as the sum of parts being more than the whole and being everything.
The series is my artistic response to the postmodern dilemma where the value of ‘being’ in the moment seems antiquated in the pursuit of future desires.
My learning of this life and everything in it maybe profoundly holistic with an unwritten, unspoken universal language that eludes all of us. In fact, I am nearly certain of it. Also that we are sentimental about objects, goes beyond the idea of materialism, rather one where somehow the objects themselves are clues to our physical connection with this world that we live in.
As a race, if we are wired to aspire, our surroundings maybe the only description of ourselves, in as much as what makes or breaks us.
The notion of all that we are and all that we wish to be, being visually coded in the way we connect with our physical world is one I think, philosophically intriguing to say the least. In a metaphysical sense, our emotional connect with objects might even be perceived as portals of time travel.
These photographic conversations with objects link my conscious and my unconscious, my seen and my unseen and what is real and what I think to be.
In trying to create profound memories that reflect the depth of the current moment as well as the transience of our lives linked to the unseen debris or treasures of our lives, based on how we choose to see it, I came upon one overwhelming realisation. That we could be anchored to our pasts, expectant of our future or consciously and emotionally live in the here and now being connected to our surroundings.
Summer | Twenty Fifteen