“It is as if the Photograph always carries its referent with itself, both affected by the same amourous or funeral immobility, at the very heart of the moving world.” Roland Barthes - “Camera Lucida”
Photography and the illusion of eternity that it gives by capturing stages of time, places and people in their stillnes has haunted me and I started regarding it as a collection of memories, compositions that once photographed will work against time, change and the so imprecise human memory. Therefore, at the core of my work stand the concepts of memory and photography, both as antagonists - in the way that the latter is a replecement of the first, and as associates - in the sense that they restore each other mutually. Along with photography, I also use graphics and installation art as helpers to pinpoint the the deficiency of photography in keeping memories as they are. There are a few philosophers and theories that study the this duet of concepts - photography and memory - some, like Roland Barthes sustain that photography is an antidot for memory, as it saves it and conserves it in its real status, while others like Siegfried Kracauer sustain that photography is just a weak sustitute. The theory that caught my attention is the one that Geofrrey Batchen developed. He says that photography helps memory through different processes to condition emotions and sensations, therefore a mental and sentimental system is required for both of them to work together. Basing my work on these assestions I always tried to use photography, graphics and installation as tools to expose and experiment with recollections, recognition, recapture, anamnesis and the interpretation of our own reality.
“The water goes, the stone remain”/”Apa trece, pietrele raman” installation with sound as part of the ONDAS DE MIOPIA TIPAR exhibition Galeria U, Wroclaw, Polonia 2012
“You wanted something monumental”/”Ai vrut ceva monumental” instalatie din cadrul expozitiei absolventilor UAD Cluj-Napoca, Romania 2013