RAYGUN

Are you even directly involved in the imagery? if not why not?

I am not directly involved in the imagery. The “curtain photo” is not a found photo. It is taken by me and is/was my immediate environment. I took the photo last winter in my bedroom in Rome, while I was living there.

Are these found image? why is the girl in the photograph, and the dancer?

All the works (in the show) functions as fragments. Again taking a point of departure in Barthes book “A lovers discourse: fragments”

The woman in the tree is a found image. Both the “curtain” and the “found image” (woman in tree) deal with time and memory and the uncertainty of memory.

With the “woman in the tree” work I wanted to play with time. I wanted the works cut across time; past, present and possible future.

(woman in tree) I choose to transfer the image to print on paper, to remove it from its original context, meaning that it is not about the archive or the old image. For me it is about, representation as such, and I wanted the work to cut across time. I wanted this uncertainty about the imagery. I want the audience to question: Why and who is this woman in the picture? And when was the picture taken?

(woman in tree)

The title figure II: (waiting) – actually all the titles are – borrowed from Barthes. The “waiting”- position in history and literature is defined as “feminine”, because “historically it is the female who awaits”. The woman corresponds to this “awaiting”; the woman does not sit still, but is standing in a tree. The woman in the image represents a form of “suspense”. What happened before the photo was taken and happened after?

The Dancer:

Here I am interested in translation. Words are translated into bodily gestures. Love and passion according to Barthes is either expressed through language or action. I thought it would be interesting to work with a dancer, because the dancer is accustomed to using the body, interpreting music or words into movement.

The dancer reacts spontaneously to words borrowed from Barthes such as: “simulation”, “orange”, “raped” and more.

In this work I examine if it’s possible to translate what can only be expressed verbally into bodily gestures.