For my second install I kept working with the concept of duration, related to dementia and photography.
The first install gave to my work the possibility to reveal itself in a big white space, leaving the security of my mind and the intimate space of my house. In this space the work had difficulties to emerge, having to depend on the plinths where the small polyhedra were allocated. Hence, the work needed to have more stability and enough tension to stand on its own in the space, without any physical and entangling support. Therefore, for my second install I thought to redefine the size of the polyhedra, pushing further my research on the existing relation between memories and duration, and last but not least, find a way which would have give to my work the researched tension.
The work presented the 25th of January was still consisting on nine sculptures made by acetate and tracing paper. Some of them are coloured, but the majority of them are either in black and white or sepia tones. For the coloured ones I have used acetate paper. The transparency of this material give a sense of blurriness to the images, blending them together. This effect given by the material is due to the connection with Alzheimer’s disease. Dementia, in fact, lead the person affect to forget recent memories. For the black and white sculptures, instead, I used tracing paper, a thicker material able to better hold the light and images. Along with the choice of the material goes the relation with lights. Each sculpture, in fact, has been folded around a small lightbulb. Each of this bulbs has a different voltage. The differentiation of intensity is due to the will to connect each of the sculptures with a thought. Indeed, people with dementia tend to forget recent memories – represented by the coloured polyhedra – while old ones are very vivid in their mind.
As final results, in a corner of the space, nine illuminated paper sculptures hang from the ceiling with a black wire, in the darkness. Each of them is connected to the other by a lattice of electrical wires. During the installation, my decision to have black wires has been questioned, basing on the fact that white ones could have been less visible because of the white background. However, the visibility of the wires is important because it refers to a synapses like pattern. Indeed, all these collection of memories belongs to the same person, my grandmother.
The overall effect of the installation was like entering a private and intimate space, where time becomes an internal experience, traced with light nostalgic tones. The way of which the sculptures are installed invite you to enter in this almost sacred dimension, arising in you question on memories’ duration, their fragility, and their presence.
I believe the work finally got its present, in tension with the space. Nevertheless, I want to further develop this project, trying to leave the nostalgia behind, as Pat and Daniel suggested, focusing on a less private connection between dementia and photography.