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I grew up in a village named Sunville. The elusive name mirages a utopian place, far too perfect for a few houses surrounded with forests, swamps and moorland. The coat of arms boasted a radiating yellow sun with a bright smile over a blue sky. Older versions of the shield showed a black sun with an upside down smile. Growing up, I started to understand that this melancholic sun symbolised a state of exception. The sun never sees a shadow, a philosopher once said, but it should be added that it casts many. After the suicide of my brother, I returned to our childhood homestead. In the forlorn months after his death, I wandered the countryside with a camera and stacks of accidentally expired film, registering locations of memories long repressed. The colour shifts in these exposed negatives suggested an indefinable time that foreshadowed our past. My photographs fused with snapshots from the family album and footage found in the village’s historical archive. The bluish Super 8 films my father had taken with his Kodak Instamatic were turned into tangible sequences of look-back time. After six seasons, these recordings were symbolically ended with a partial solar eclipse over the village. The coincidental event mediated this regression into our ruinous past between a eulogy and a metaphor about photography, with the sun as its protagonist. This new series became a research into the peripheries of the lens-based medium and the object-hood of the photographic surface – functioning individually in unique spatial installations and collectively within the constructed place of this book.
Original languageEnglish
Place of PublicationAntwerpen
PublisherLudion Publishers
Number of pages166
ISBN (Print)978-94-9181-984-1
StatePublished - 2018

ID: 17864951