15 * 20
2022 Inspired by Halbwachs' insight on collective memory, my research delves into the distinction between memory and dreams. It commenced with the project "I woke up and it was 17:05," sparked by disorientation after relocating to a new country. This exploration serves as the groundwork for my ongoing study, aiming to understand the intricate dynamics of memory and the act of remembering.
Reviewing the photos taken by me, I came to realize not only the delusional aspect of the images, which were mostly taken in nature near my first place in the Netherlands, but also the visual similarities with some of the photos I had taken back in Iran. This realization prompted me to contemplate the distinction between dreams and memories. As Halbwachs mentioned in his book 'On Collective Memory,: it is not in the memory but also in the dream that the mind is most removed from society.
Utilizing a red thread while meticulously sewing the pictures, I aimed to visually slow down the process, allowing for a deeper focus on remembering and invites readers to engage with the photos by tracing the attached thread. Yet, similar to the nature of memory itself, the thread proves elusive, slippery, and challenging to grasp, symbolizing the fragmented nature of recollection and act of remembering.
Despite our earnest endeavors, memories often elude us, leaving us with mere fragments rather than a comprehensive whole.
The accompanying texts in the book, initially diary entries, alongside the photos, form puzzle pieces in its creation. Written in Farsi, my mother tongue, they remain untranslated into English due to the deep roots of my memories and dreams in that language. This deliberate choice results in fragmented translated words to English within a fully Farsi-written page, offering a playful invitation to non-Farsi speakers to engage imaginatively. Rather than presenting a fixed text, this approach encourages the audience to find or narrate a story based on their imagination, fostering an interactive and creative reading experience.
Just as memories are fluid and subjective, this photo book project invites readers to actively participate in the co-creation of meaning. By granting them the freedom to choose their own entry point and determine the course of their exploration, I acknowledge the negative space inherent in memory the gaps and absences that allow for interpretation and imagination to fill in the blanks.