The idea for POLAROID arose from listening to the radio. I was listening to a programme with Marie Richeux, in which a short text called POLAROID was read. A collection of these texts was then published. These texts never failed to intrigue me; I was fascinated by them. They often spawned images and specific imagery. In this collection, the preface captured my attention. It is a text by Georges Didi-Huberman in which he reveals his questions regarding the meaning of a literary Polaroid.
‘To focus’ on the very texture of things. To approach, lean in and give the minuscule its due place. Also, ‘to polarise’ the relationships that each thing has with the things around it: move, change the play of light and give consideration to spacing.
I asked myself what is a theatrical polaroid?
Experiences with students and interns confirmed interest in this approach, stemming from my experimental obsessions and preferences.
Fascination in this specific photographic technique, its appearance, relative immediacy and chromatic blend, that we see permeating an organic space and time, evokes theatricality in the image. In performing arts, the creative moment is the present. The creation of an image in a polaroid is also present and tangible.
Recalling a memory: impression n. m. (subst. from the verb to remember, 1080 Lat. subvenire ‘to come to mind’) What calls or can call to mind past experiences; an image that keeps and provides memory.
An image that ages, fades and changes…in itself, a polaroid is a tangible vector for memory and its transformations over time.
How do you create a theatrical polaroid? Create the acting, transformations live, see a memory cloud and fade, change…
Building from image work, compilations of personal memories, poems, I want to take on the challenge of creating a very personal hybrid play.
For the text, loosely and personally adapted, poetic material will be selected from writing by Hanne Bramness, Huguette Champroux, Marie Richeux, Georges Didi-Huberman, and Marc Augé among others.
For the images, a reflection process will be achieved around Polaroids by Daniel Blaufuks for example.
It is quite clear that our memory would be rapidly ‘saturated’ if we were to retain all images from our childhood, particularly those from our early childhood. But what remains – memories or vestiges – is produced from erosion through omission. Memories are eroded, through forgetting, like the edges of the shoreline by the sea. (...)There is therefore some kind of complicity between the land and sea, both of which have contributed to the slow process of elimination resulting in the current landscape. (...)
Forgetting, in other words, is the living strength of memory and recollection is the result.
Marc Augé, Les formes de l’oubli