Summary of my project:
“Hay lugares en mi en los que nunca dejé que me visitaras” Kemê, Alicia pellicer Feb. 2013
Hay lugares en mi en los que nunca dejé que me visitaras Places in me where I never let you visit Is a book with self-portraits, but the self-portrait is in fact the book
I previously used self-portraiture for different purposes, as a study of the identity, but never before consciously used it like a medium for self-analysis, engaged to a real psychological therapy (assisted by a psychoanalyst and other consultants) and never before connected to my memories using the situationism and objects. The beginning was frustrating because I was unconsciously looking for “the portrait of the alter” and I was constrained by mental logics and that I was not allowing me to continue crossing borders inside myself. Making an absolute commitment to therapy and photography, I started discovering and obtained results, it has been and still is a very intense process, but now I have gained new resources as an individual and as an artist, resources that I want to continue developing in my future photographic works. Starting from the study of Psycho-geography and Jung’s theories, I reaffirm in the premise that I do not believe it is possible to extract any independent me, since it is formed by the amalgam of differences and connections between a group of “me’s”, I imagine the physical appearance of the self as a graph in perpetuum mobile, a graphic with the values of space/time, time in a linear sense, our life and experience, past, present and future, time and also circumstantial, periods, moments, like islands. I think that without the contemplation of the entire graph, the big picture, I could not possibly explore vision or depth so it would not be possible for me to discover anything new. If we look just at the intersection point of coordinates we would be looking at copies, a doppelganger, stereotypes. To carry out these images I combined two methods of work, on one hand I got used to having the camera always ready, to increase the possibilities of “hunts”, by integrating the camera in my intimacy. On the other hand, I started to search for my places where I never let you visit me and travel across them, connecting spaces with internal and external situations, and learning about its inhabitants as well as their objects and habits. Of course I am interested in the aesthetic of these images, but sometimes I have had to choose between the plan (or composition) and veracity, given the emotional charge of the project I could not do it as truthfully as possible, but I have always tried to maintain the balance.
Summary of my project Kemê