I work with old photographs passed down through my family within much of my work. I do not have any personal attachment, or knowledge of the people in them, although through working with them I do build up a relationship with them, but this is a factious one. The subject is still memory, but a more open one, to be interpreted as a view on memory, loss, presence and absence, to make more of a suggestion rather than a statement of fact. I am still looking at how memories fuse together, become a bit hazy and fuzzy, how they can just become like white noise in the background.
The process of taking one photograph of a group of children and layering all the faces into one completely diminishes all sense of identity and leaves a ghostly impression. This opens up the passage of time, a sense of loss and absence. The faces have a defiant stare with solid dead like eyes; I feel a sadness that eminates from these faces, frozen in time, lost but totally engaged.
They were used in my final MA installation and printed on silk. I wanted them to interact with the space, move within the space as people pass through, to be accessible, transparent and in motion as a memory is. Memories are not static, rigid with clean edges. I like the associations to the fabric itself, it is something that everyone has a connection to, you wear it close to your skin, your barrier against the outside world, an expression of personality, choice, wealth, status or religion. It is a comfort or a shield to hide behind.