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“Landscape”
2024. Processed photograph, inkjet print, 60 × 90 cm.
“Landscape”, 2024. Processed photograph, inkjet print, 60 × 90 cm.
“Landscape”, 2024. Processed photograph, inkjet print, 60 × 90 cm.
“Landscape”
2024. Processed photograph, inkjet print, 60 × 90 cm.
“Landscape”
2024. Processed photograph, inkjet print, 60 × 90 cm.
"…Houses turn into floating bodies, almost satellites, and the light transforms into an artificial glow…"
"…Houses turn into floating bodies, almost satellites, and the light transforms into an artificial glow…"
"…Houses turn into floating bodies, almost satellites, and the light transforms into an artificial glow…"
"…Houses turn into floating bodies, almost satellites, and the light transforms into an artificial glow…"
"…Here the body becomes a surface of bearing, a living canvas where the memory of the other becomes presence…"
The work originates from a photograph I took of a sunset landscape from the fifteenth floor of a building. The image was carried through multiple mediations—first through color processing and Xerox printing, then re-photographed as a still image, recolored, and finally inverted. By reversing sky and ground, I created an entirely different sense of place.
What began as a standard view of a neighborhood at dusk now appears as though seen from above, perhaps from space, capturing the curvature of the earth and the void around it. Houses turn into floating bodies, almost satellites, and the light transforms into an artificial glow, as if emanating from a screen or an unnatural source.
Through these manipulations I sought to produce a visual experience of disorientation and loss of ground. By altering the laws of gravity within the image, I ask what happens when the stability of place collapses, demonstrating how our entire perception of landscape can shift through deceptively simple interventions.
In this self-portrait I mark my face with the birthmark of a relative. It is an act of bearing of memory, of difference, and of pain. By taking this mark onto my own body I perform a gesture of transference, almost like a living print, that blurs the boundaries between the personal and the familial, between my body and the body of another.
The title Family Imprint reflects this act: taking the trace of another onto myself, carrying a physical and emotional imprint as if it were my own. The gaze is always drawn to what deviates from the norm, yet at the same time resists staring directly. I am not disguising myself but borrowing the sign, making it visible.
Here the body becomes a surface of bearing, a living canvas where the memory of the other becomes presence. A mark born on another body is inscribed onto mine as an act of closeness and resonance, both homage and disruption. The work raises questions of identity: what counts as a body worthy of being seen, who is permitted to carry a mark on the face, and what does it mean for one’s own face to become the face of someone else.