Pick a memory and write it down on a piece of paper. Shred it into a fine form and watch it being made into a tile. The act of encapsulating a memory in an object, or solidifying and preserving an emotion forever, forming a library of preserved memories. Using your memory as your currency, you obtain the power to relive it through the object at will. Constructing a large sanctuary of compressed emotion, a memory pavilion.
We would like to view this as a transfer and exchange station to load/drop off and trade with new memories. A station where one redeems, emotional currency and deposits them in to a concrete reserve. Emotional currency is the only medium of exchange relevant to deal in. Keeping transactions as pure and poignant, making you free of surcharge and free from emotional tax. (excerpt from the exhibition publication)
Emotion is the agent that allows us to experience form and material simultaneously. How do we recognise emotion as being present in our minds? How does emotion make its presence felt? In order to recognise something new, we have to expand our vocabulary and that is never easy. Materials offer media for a direct connection to be made and sustained. Long after the moment has passed, once material has become the media for an emotional bridge to be built, it remains.
Nostalgia is like a poem, to understand which you have to loosen yourself from the clutches of the rational. It is a virus - by being irrational it also requires everyone who understands it to be irrational. It proliferates itself. We need information to be deep and shallow at the same time because we need to communicate and understand it at the same time. Simultaneously being present in multiple forms allows information to reach more people. Secrets are seeds of instability. While we harbour secrets, we can never rest easy. And still secrets are a part of every person’s journey. The full story is never told. There is a new one to be written. In the writing of every new story new conflicts take birth and old ones are pushed to the brink.
Our senses are present only for us to not get enamoured by them completely. What might be factual in terms of our sensory experience of an environment at a given time might not be the truth that will help us understand the what and why in the given situation.