Rashomon - Akira Kurosawa
Thesis: Inheritance, Projection and Post-Memory: The Transmission of Holocaust Trauma through Photographs and Comics
Approaching the idea of genocide and atrocities with an interdisciplinary approach, this presentation calls into question how newer generations remember and enact the traumas from generations past; and the inevitable inheritance of memory, lodging itself as a type of prosthesis in the minds’ of children and grandchildren of survivors. Using photography, film, graphic novels along with my own personal visual art practice, I endeavor explore the veiled and often-mediated process of remembering experience lived by others, seemingly passed to oneself. Using the critical underpinnings of Marianne Hirsch’s concept of “post-memory” along with Susan Sontag’s description of family photo albums as “all that remains, documenting generations through birthdays, funerals and mundane snapshots,” I attempt to investigate the nature of memory with those indexical archive. And more importantly, question how can we distinguish our memories from someone else’s; from those that do not belong to us? Using works from Ari Folman, Art Spiegelman, Ridley Scott and Rafael Goldchain, this paper is about preserving and transcribing a Jewish trauma with all of its ghostly revenants, but it is also about a human trauma and how it can be passed on generationally regardless of cultural markers.
Mixed formats of visual art by David Borochovitz, Mahla Shapiro, and Jessica Thalmann. Weight of Memory attempts to answer the constant question of what we owe to history and how past events that rocked us as a people can be digested and reformed into new artistic narratives.
Bearing witness is a painful and public process of testifying to historical facts and emotional devastation, while provoking with new artforms. Three emerging artists from across Canada use photography, language, thread, and ink as instruments of translation – creating exciting contemporary documents of trauma and insider/outsider ideas of community that question what are our chosen identities and what has been imposed.
Quick update on a few recent exhibitions, and both at the same gallery!
1. At the closing reception of The Darkroom 2.0 exhibition at the 918 Bathurst 918 Center for Arts, Culture and Media I won the Visual Artist Grant Award. Thanks 918, your support and acknowledgement really helps!
2. The mentorship with Hillel and Julie M. Gallery has come to a close with our final exhibition at the 918 Bathurst 918 Center for Arts, Culture and Media. The show closes today but, take a look at some of the new work on my website and exhibition documentation coming soon!
That’s right! I am very excited to announce that I’ll be heading out to New York City this fall to pursue my Masters of Fine Arts in Advanced Photographic Studies at ICP-Bard!
In two years, I’ll (hopefully) have those oh so sweetly sought after letters after my name.
One of my new photos arbeit macht frei is in this group show at the agm. head out to see it before it closes!
VISUAL ARTS MISSISSAUGA’S
35th Annual Juried Show of Fine Arts
@ the Art Gallery of Mississauga
January 17 to March 2, 2013
300 City Centre Drive
Mississauga, ON L5B 3C1
Opening Reception & Awards
Thursday, January 17, 6 p.m.
Walk the Talk
Saturday, January 26, 1 p.m.
Weekdays 10 a.m. – 5 p.m. (8 p.m. on Thursdays)
Weekends: noon to 4 p.m.
L’appel du Vide - Exhibition Documentation
Graven Feather Gallery | Nov 1 - Dec 1 2012
Graven Feather Gallery
Opening Reception: Thurs Nov 1, 7-10PM
L’appel du vide (French)
Literally, the call of the void. Describes the sudden and instinctive urge to jump from a high place. It is that tiny voice that tells you to jerk the steering wheel just to the right and take a flying leap off the ledge…that inclination to walk right into the ocean and never return…the call of the Siren song.
Examining the instability of photography and its inability to depict people and places once known (now lost), L’appel du vide extrapolates on the changeability and fickleness of personal and cultural memory. Using analogue photography, transparency projection, drawing and the language of comics, this body of multi-media work questions the nature of memory. Is it something palpable? A taste. A smell. A lie? But most importantly, how can we distinguish our memories from someone else’s; how do we differentiate from our own; and those that do not belong to us?