In the last months of my MFA I have discovered and explored the works of Andrey Tarkovsky. Feeling a bit ambiguous, as he often been criticised - and it seems rightly so - for being a misogynist, nevertheless I was taken by his many great artistic achievements.
I would like to quote some of his musing from Andrey Tarkovsky “Sculpting in time” on time and memory.
Time & Memory
“Time is condition for existence of our ‘I’. (…) and the moment of death is also the death of individual time: the life of human being becomes inaccessible to the feelings of those remaining alive, dead for those around him. (..)
Time and memory merge into each other; they are like two sides of medal. It is obvious enough that without Time, memory cannot exist either. but memory is something so complex that no list of its attributes could define the totality of impressions through which it affects us. Memory is a spiritual concept! (..) Bereft of memory, the person becomes the prisoner of an illusory existence; falling out of time he is unable to seize his own link with the outside world - in other words he is doomed to madness.
As a moral being, men is endowed with memory which sows in him a sense of dissatisfaction. It makes us vulnerable, subject to pain. “
I would be inclined to relate my practice to the distinguished concepts. I agree that memories lead to the sense of disaffection, the least in the form of the longing for the lost past. I wouldn’t however quite support the statement that moment of the death is the end of individual time. It transfers to another ways of being, in memories of other people and naturally in the art of works that capture moments of existence or death of those who passed away. It is something that I previously called re-appearing. the image that evokes emotion it is in a sense an extended existence and definitely it is a prolonged time.
Tarkovsky, who in 1983 found himself in Rome, said ;”I can no longer live in Russia, but I can’t live here either”. “Homeless, between here and there, he was condemned to suffer that nostalgia - the chronic disease of the Russian in exile, that had been the subject of the first film he made abroad”.
Tarkovsky used to take his own polaroids. His ideas and aesthetic preferences are very distinctive. There are clear similarities in the way he looked through his personal camera and the way scenes in his movies are constructed. In below galleries polaroids are on the left and film stills on the right.