(Notebook Entry.). ‘Even the brightest of stars bears dark spots –wears them as scars. All surfaces have an inscribed memory; and yet, we’re squinting. The ground, its sharpness, the burn. The kiss, your touch, the burn. The sun, the tan, the burn. The salt will help you heal, it’ll wash the sand off your skin.’.
‘That Which Lies Within the Self’, Uncertain States of Scandinavia 16th Issue
As we choose to no longer stand behind the camera, we do still hear the shutter being triggered at our release; yet all our eyes can remember is that imprinted afterimage, a warm tainted retinal persistence produced by the firing of flashbulbs.
‘”One day I’ll have to put it all alone at the beginning of a film with a long piece of black leader; if they don’t see happiness in the picture, at least they’ll see the black.”.’. –Marker, C. Sans Soleil, 1983.
Eat Sand (Sand)
Eat Sand is mounted as a succession of curated fragments, fragments that bear a somewhat bitter or distressful relationship with reality; but –for over that– a tainted pulse. An acknowledgement of the medium as matter, as an unreliable capture and a contextless product of time and space.
Imagery is restless. It has no consumption waste; and yet, hails from a depleted sense of reality that feeds upon itself. As in a cycle –may there be a more contemporary notion. Images of real things. Images of images. Reinterpretation, appropriation…; it all seems applicable to fairy everything. And it all leads to the attribution of new meanings.