Clelia Knox-Imaging: Final Portfolio

Mark-Making

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Figure Drawings

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Shavings

April 2017

Medium: Grass Shavings

Statement:

 Walking around on Flagstaff hill, I noticed how the mowed grass created silver lines throughout the field. I decided to interrupt the vertical lines created by the remains of the mowed grass by gathering the dried grass into a symbol that would cut across the path created by the lawn-mower. 

Credible/Incredible Images

February 2017

Medium: Photography/Photoshop

 

Steamed Memory 

May 2017

Medium: Video 
Duration: ( 5:25 )

Statement:

This piece considers the relationship between memory, memory-recall and the narration of memories. Memory is never stable and it is necessarily so. Memory allows us to negotiate with the often fraught link between the past and present. Memory’s liquidity, malleability, instability is undeniably frustrating and painful at times–we can never look directly at ‘memory’–yet, it also allows us to bridge the past and present and to see how the two are in a continuous, although not untextured or undulating, process of forming each other. Even more, it forces us (allows us) to constantly reconsider, and find once again, our belonging in history. The act of narration is a crucial aspect of everyday memory work, it reifies memory in the present and gives it agency, but also allows us to recede into the past; it is undeniably a nostalgic practice–but: nostalgia doesn’t only look to the past, often, it is looking to the future.

At the same time, narrated memory, and especially personal memory, has often been accused of being inherently distorted (a myth); yet, when we look at history textbooks and memorial placards, those are all sites of memory…an infinitely reified, solidified, institutionalized memory.

This piece explores how recounting a memory (through a narrative) everyday, modulates not only the memory of the rememberer, but also the structure, agency, authenticity of the narrative. 

Rice Picking Memory–Documentation of Video That Went Unused:

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Common Ground

April 2017

Media: Video (360 degree video)

Statement:

This project emerged as a result of my recent (and condensed) immersion in the history of feminist theory and my developing sentiments regarding certain feminist positions (Silvia Federici’s Marxist-feminism, Riot Grrrl Manifesto/Image, Maria Dalla Costa’s contribution to the “domestic labor debate”).
The piece also considers how physical movements/ Ritual-like actions can create marks on the body (see knee documentation). 

#NewTempleofBel: Remembering the Rubble of Ruin 

April 2017

Medium: Video 
Duration: ( 2:02 )

Statement:

The destruction of heritage sites is always a political move and a violence against memory, and it is not unfamiliar in the many contexts of war and conflict, which inflect human history. While this form of destruction is familiar, our relationship to memory, history and pastness in socio-political climates fraught with physical violence and clashing mandates to forget and remember, is still challenging and perhaps, foreign. With new forms of archiving and preserving information, introduced to us by new technologies, it is still necessary to maintain an alert historical consciousness that continuously reflects on when the pastness of the past becomes crystallized, when memory is reified or strategically modulated, and when history becomes linear, stiff and deaf.
This video is a conceptual outline for a more comprehensive (future) piece that examines the potential and the limitations of new modes of reifying sites of memory and history—it will also actively reconsider the conventions that have governed our understanding of authenticity, institutional power, personal and collective memory, and the space in which rubble, ruin and heritage sites reside.

“The pastness of the past is crystallized in effort to present ruins as objects separated from the present. And modernity’s concern with decay and, especially, with the attempt to overcome decay through transcendence turns ruins into fetishes that ought to be preserved and revered.” -Gaston Gordillo

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