Any archive, including a collection of family photographs such as the one I use as source material, has a narrative function. Determining what will be included or excluded can define the limits of its given history, and thus determine how its story is told. I also question how we, in turn, change our relationship to such images, as we become enmeshed in the fluidity of memory and meaning.
I have mined photographic and filmic materials from a personal family archive to focus specifically on the gesture of the turn both formally and metaphorically.
Feminist theorist Sara Ahmed suggests that the space in which we occupy becomes a question of “turning,” of directions taken. Once a body turns not only does the unknown appear, but the new direction enables us to find our way through the world and discover a new way of being and seeing. This metaphorical consideration of the gesture of the turn and the notion of orientation/disorientation are reoccurring elements in my work.