2019

reminiscences of hiding

Reminiscences of Hiding is the title of a series of spatial installations, two works of which I carried out in 2019 (Reminiscences of Hiding I and II). The idea for the series stems from the hiding places we sought out and created in our home environment as children. In the works, I use proportionally magnified elements as a means of enabling an adult an experience he or she can no longer physically experience. In the project, I worked with children between the ages of 2 and 4 in the form of workshops where children drew on the material that was later used in the installation. In both works, the same abstracted audio recording was used, which is included in the work or installation.

I perceive the participation of children as an important part of the work and I find the inclusion of the children from the local community where the exhibition is taking place leading to a different circle of people entering the work, which can involve children and their parents who may not yet be the visitors of contemporary art exhibitions.

The magnified childhood hiding places give an adult the opportunity to travel through time, allow them to experience something that is physically no longer possible to experience and represent a portal for imagination and memory.


Reminiscences of Hiding: I

»By allowing the imagination to wander through the tombs of memories, we inadvertently invoke the confused life of the tiniest corners of the house, in the imminent animal shelter of dreams.«¹

Remembering is a process of mental reconstruction of events, in which we try to construct an image of the past with the elements that are accessible to us in the present. In this process of reconstruction, as with previous projects, I focus on changes. I am interested in the relationship between the physical changes of a space or an object in relation to the physical and mental changes of perceiving the latter over time.

A hiding place/shelter serves as a physical, as well as a mental safe space. Throughout the time, when the physical space no longer exists, all that is left is the mental space- it's memory; in it, the line between the hiding place and the object we are hiding from gets blurred, and fear can move in. The sound gives the space an unsettling feeling and highlights the contradictory nature of a hiding spot. The distorted sound invites the audience to listen and try to understand the message, but the voices remain incomprehensible, as many situations and problems are to a child. Similarly, a child's drawing is non-figurative and hard to read for an adult. The relationship between the sound and the drawing is in contrast, but at the same time, these two opposites are connected precisely in that they are both unintelligible from the time perspective of one another.

1 Gaston BACHELARD, Poetics of Space, Pariz 1958, p. 285

A shelter represents a mental and physical space of safety. In time, when the physical space no longer exists and only the mental space remains, the boundary between the hiding place and what we are hiding from is blurred and fear can settle in it. The abstracted sound (consisting of the noise and the quarrel between two adults) invites the viewer to listen and try to understand, but the voices remain incomprehensible, such as a child cannot understand the problems and many situations during the process of growing up. Similarly, a child's abstract drawing is difficult to read/understand for an adult, while at the same time making perfect sense to a child. The relationship between a drawing and sound is in contrast/opposition, while at the same time, these two poles are connected precisely in that they are both incomprehensible from one or the other generational perspective. 

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