How intimately does the form of an object and the way it is held, project the intimacy, the owner shares with object?
In order to explore these aspects of materiality and emotions, I undertook a series of Visual experiments.
If objects were signifiers and carriers of their past memory and experience, will losing their immediate form have any effect on their relationship with the owner? Abstraction of the object – in portraits of migrants posing with their beloved possessions– is a technique I explored to understand the projection of the relationship through the way in which they hold their possessions.
Even when the immediate form of the object is no longer visible, the manner in which each person holds the object, projects their emotion. Any of the objects could have been replaced by another object with similar emotional value.
Analyzing the hand gesture of people while they hold objects, so dear to them. The manner in which they hold the seemingly worn out objects, become signifiers of their true value. The space between their palms becomes a symbol of their past experience, memories and perceptions.
Using juxtaposition to portray the place of emotions in a world overloaded with sensationalized media reports.
Can we spot the genuine emotional turmoils amidst the crowd of information? Various migration related news headlines were compiled in the form of a newspaper, where the individual/societal sentiments of the migrant is camouflaged. It almost hides among the bigger picture- aptly symbolising the scheme of things around us in today’s world.
Migrant Images by- NYC-based photographer Brian Sokol, who has been working on a project supported by the UN Refugee Agency titled “The Most Important Thing.” Some of the images are by Alec Soth and Amy Thurgood.