Fernweh, Segment I
The tourist agency, although more and more redundant today, provides a special kind of mediation between the customer – traveller and a desire-filled destination. Brochures filled with attractive offers and highly manipulated and aestheticized images create a specific kind of structure designed to appeal to the desire of the customer.
2019, 30 x 21 cm, collage and cutouts on paper
2019, 30 x 21 cm, collage and cutouts on paper
2015, 42 x 59.5 cm, pencil, pen and ink and collage on paper
2015, 42 x 59.5 cm, pencil and collage on paper
2019, 30 x 21 cm, collage and cutouts on paper
2019, 30 x 21 cm, collage and cutouts on paper
2019, 30 x 21 cm, collage and cutouts on paper
2019, 30 x 21 cm, collage and pencil on paper
Images that represent places may carry certain emotional content that we tie to them. But not always. This mostly depends on our experiences and the memories we tie to the images and places. On the other hand, places we have never been to may also offer emotional value or connection. It is precisely the latter that represents the starting point for this series of works.
2019, 21 x 30 cm, collage and cutouts on paper
2016, 21 x 30 cm, collage on paper
2015, 21 x 30 cm, collage and cutouts on paper
2015, 21 x 30 cm, collage and cutouts on paper
2015, 21 x 30 cm, collage and cutouts on paper
2015, 21 x 30 cm, collage and cutouts on paper
2015, 21 x 29.7 cm, collage on paper
Unseen, often distant places often evoke desire that transcends far beyond touristic appeal. In terms of the search of home in the more profound meaning, I look into how our desires are formed, starting from purely visual cues and slowly building the emotional content.
In terms of the image itself, I ask where does the boundary between the image as a set of chromatic values on one hand and the image – bearer of potential emotional value on the other stand? When does an image stop evoking emotional reactions? The ability to recognise a particular place certainly plays a role, but what do we feel when this expected perception is broken almost to abstraction? And what value, if any, do neutral and unrecognisable places and landscapes hold for us?
2016, 42 x 59.5 cm, pencil and collage on paper
2016, 42 x 59.5 cm, pencil on paper
2015, 21 x 29.7 cm, ink and collage on paper
2015, 21 x 29.7 cm, ink and collage on paper