Prison - giclée print - Limited Edition 1 of 5 Photograph

In today’s social interactions and changed circumstances people experience and exercise their identities on individual visual interfaces, through personal and social preferences. There is a virtually infinite number of intermedial opportunities, and communication channels have become part of our lives that are defined by visual ‘illusion’ and in some cases artificial visuality not correlating to reality. The image has become primary, it is communication and it is a created ‘reality’. The image verifies: there is the image, therefore I am. I share images of myself, hence others verify me, my existence. All this happens in a space where the perceived optical content is the primary preference. This phenomenon should not be treated as a still point as it is an accelerating process with its starting point, direction and future-orientated character possessing multiple layers. The initial problem arises when the nature of the image – or let us call it photography – is examined as it depicts something or somebody, events or persons that existed, took place or were acted out. So many past aspects in the chain of future-pointing events. The ontological basis of photography is remembering. It is not hard to see that our primary, non-verbal communication channel is built upon a visual language, on memories – both individual and collective – and it is overridden by the same in every moment. The foundation of any process is remembering.