In front of the photograph of my mother as a child, I tell myself: she is going to die: I shudder, like Winnicott’s psychotic patient, over a catastrophe, which has already occurred. Whether or not the subject is already dead, every photograph is this catastrophe.
Roland Barthes, Camera Lucida
In 2002 I bought a large selection of family album photographs in Berlin. For a long time I wondered how to work with these images on a personal project, without altering the essence of them or intervening too much.
Carefully observing them, I realised that the main characters, a German couple, often photographed one another identically positioned within the same setting, producing a series of “double-take” photographs.
The intention of simultaneity of these unknown characters allowed me to create a series of five lenticulars. Making possible their original plan of being together in a frame, the lenticulars transform two photographs into a single moving one. The image above is only an approximation of how they look in real life for the purpose of illustrating the movement.
In a reconstruction of a past, one of which there are no known witnesses, forgotten moments gain a reprieve within the memory and minds of the present. My idea is to destroy the photographic essence of fixed imagery by giving birth to a hybrid that reconstructs a bygone moment. Each of my compositions is static yet simultaneously in flux, acting not only as proof of the past, but as an alternative interpretation of it.