“Truths are illusions whose illusionary nature has been forgotten.” Nietzsche
To stretch the concept of remembrance toward the visual language through a nonnarrative structure in order to widen the scope of understanding of the mechanics behind memory; to adapt the concept of unmemory into art through the abstraction of visual images; and to challenge the spectator to explore the concept of unmemory – just as in mathematics numbers are divided into negative and positive numbers by the number zero, which is visually represented by a circle, that is to say a whole which contains the entirety of the numerical components, so is memory – within every memory exists an
unrendered memory, or unmemory, which like an unrendered digital image, does only exist in an abstract state as it has not yet, maybe it will never, become a reality. Furthermore, memory does not only contain one’s lived existence but it also stores one’s non-existence (words never said, decisions never taken, places never visited).
Ultimately, as in mathematics, a circle embodies the entirety of memories; this circle is represented by remembrance and its complex structure is mainly composed of vessels. Memory as a succession of tiny vessels – all unique in both configuration and substance – self-contained in a whole and arranged into remembrance, as opposed to the assumption of a uniform entity that is selective and is composed of a series of memories all mixed up together to give birth to remembrance. This project takes the time, for once, to indulge the receptor into absorbing a visual image without the pre-conception of instant gratification, but rather experience the abstraction of the art form as being part of a whole.
The fact is uniqueness does not exist, there are only prototypes of a same product, same emotion, understandably shared by everyone. The only thing that might be considered different is the whole of tiny vessels that each of us has accumulated through time and stored into personal memories unique to each of us.
This is not a physical nor an emotional difference, but rather a difference that lies within each of us that can only be understood by oneself: it cannot be shared nor shown; yet, through the visual arts, I want to provide an inside outlook on the notion of memory and unmemory as a pure aesthetic concept by allowing the spectator of this artistic endeavor to become an observer, furthermore, a voyeur, of his own beautiful psyche with its unique complexity. Through the observation of the artistic work, the spectator would be provided with a mirror into his own remembrance, and therefore, he would reflect into his own memory and unmemory.
The experience would enlighten the spectator’s understanding of the process of remembrance. An absolute memory/unmemory is stored into a vessel – which is composed of fragments – connected to others through filaments; for every memory/unmemory there are several layers, or membranes, concurrently represented by a visual medium: painting, photography, and film; therefore, different stages of consciousness can be found in a memory/unmemory. Through the abstraction of the use of light, space, and movement, in the visual arts, I intend to explore the different levels of fragmentation in memory/unmemory, partially due to time. The project is a collage composition of creative ideas, concepts, and thoughts; yet, the illusion represented through the different visual images, proposes a more complex, self-conscious, form of viewing.