Untitled (after Sorlin)
Digitised vintage negatives and blacked out pages from Pierre Sorlin's book The Film in History, Restaging the Past (Oxford: Blackwell, 1980)
Using a set of found negatives this series focuses on gesture, movement, and the idea of the fragment. By scanning portions of the original images and pairing them with selectively blacked-out pages of “The Film in History” by Pierre Sorlin, I attempt to unveil new interpretations and alternative associations through the displacement of image fragments and text excerpts.
Photographs and archives are malleable, they are not merely reflections of the world, and thus cannot be purely taken at face value. They can be affected by the institutions or people that manage them, bringing out different aspects or even subjecting the archive to conform to certain points of view, ideologies or meanings.
Here, text performs very differently from the usual practices within the domestic photographic field, thus exercising a tension between what is depicted and the phrases that are paired with each image. The text does not attempt to illustrate the images directly, but to open it up to different and possible layers of interpretation.
The text snippets reflect on time, memory, the sense of belonging to a particular culture, as well as dealing with questions of identity, point of view, or the nature of research itself.