A literal and poetic displacement resonates throughout the work, in part a meditation on a contemporary Palestinian landscape ruptured by a breakdown of community, memory and narrative. Moments of recurrent potential and failure of resistance are repeated to critically reconstruct past fragments and uncover the suspension of the future in the present. This feeling of continual suspension and relapse, progress and deadly repetition is played out exploring the overlap between personal trajectories and multiple historical narratives. It is in the ambiguities between absence and presence, nostalgia and an altogether frustrating sense of deja-vu, that the installation explores an anxious and obsessive state of being, trapped in the transition between past, present, reality and fiction.
*Collapse was produced with the support of the Delfina Foundation.
The images, which come from different sources, weave together into a labyrinthine maze to create a blueprint of memory itself. The film spirals around a lost image, the only moving image of my dead mother. How is absence lived? What remains of love, war and death with the passing of time? These are the questions that are delicately displayed for contemplation in this film.”
“Dear Victoria explores belonging and estrangement through archive material on 8mm films shot by my grandmother during her trip to Armenia in 1969.
I took the same journey in 2005, without knowing I would later find her silent footage. Charged with political and historical significance, these images bore a generational bridge to an unknown space and past. This project is an attempt to understand belongingness and questions the poetics of home movies by intervening with sound and music and parsing images captured by a family member 40 years ago.”