Installations grounded in figurative oil paintings are used to investigate and interrogate memory and passing time. Archival black and white family photographs rendered in paint are situated in dialogue with other materials or mirrored and reflective surfaces. Distorting and changing through both the painting and installation process, they can suggestively untether the veracity of pictorial truth, invoking mnemonic qualities and fostering different forms of closeness.
In Camera Lucida, Roland Barthes writes:
“What is it that will be done away with, along with this photograph which yellows, fades, and will someday be thrown out, if not by me—too superstitious for that—at least when I die?”
I reflect upon this quote when I paint from photographs, a process that enables me to transform and imbue an image with a kind of value that comes with being acknowledged, gazed upon and considered anew. No longer a hidden photograph, it is now a painting that is shown to the world.
Ann-Sofie Claesson, 1992, Håcksvik, Sweden
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