The process of seeing is lively and organic, dynamic and easily shifting from one stage to another. But constructing an image or an object with the purpose of it being seen (or perceived) revolves around a different core altogether. The viewer observes an object/image that had been thought of by someone else before it actually took a viewable shape. So, it followed the opposite path of the, say, anatomical process – the object had to be translated into tangible terms after having been seen/thought of/built mentally, by means of imagination and visual memory.
Is that what art is? Objects that tell stories by being looked at? Images that are incorporated into the viewer’s cognitive consciousness and appropriated to their subjectivity?
The images are, themselves, mirrors of the times, cultures, paradigms from which they emerged. Inevitably, parallel imaging is bound to appear – images that tell secondary stories; stories that are meant to subtly find their way into the individual or even collective cultural consciousness without being conspicuous; stories that bend the initial image into playful narratives. We (re)build them based on mental and cultural patterns and, thus, each if these narrations become slightly crooked with each viewer and each subtle change in its structure.
Passing through a scientific and analytic path of image forming, the Speculative Mechanisms project focuses on studying potential mutations of the image through the actual anatomical parts of the photographic camera (which is also a “seeing” mechanism). Viewers become speculative re-narrating mechanisms. I propose stories that must be found, rebuilt, looked for, beyond the physical and apparent location of the image(s).
