work with it, so I thought of the idea of how we now travel and
record the world which is obviously an iPhone or telephones which everyone always
carries with them and we outsource those memories or
these travel memories is to our phones or maybe the internet or.
And also, we look at these travel photos of others I think online so
in that way we, I feel we travel as well through imagery of others and
we can see the world through photos which we never made or never experience.
And so, I started to photograph every page with my iPhone, with a flash and
these photos, the 99 photos came out very straightforward and simple.
And that developed to this installation of the photo stickers on the wall and
the pieces of glass.
>> So I would like to focus on some specific details that are connected
to that specific piece, the Subconscious Traveling.
The use of stickers, the use of iPhone and the use of flash.
Can you elaborate on this?
>> Yeah, of course I'm in the flash edits when you start with that
you photograph with and without.
And obviously it needed to be an iPhone because I felt
I'm going to travel through this album of the absence of those imagery
and it's plastic sleeves.
So I find it interesting when I flashed it that obviously of
course you get the reflection so it creates an absence of pixels
actually which to me also, relates to memory loss or lost data but
also in a more human way loss of memory like the absence of that.
Which struck me and then, yeah, then you get an opportunity to show the work and
I start to think about the very kind of not pretentious way of showing
photographs, which is very much there not sticker material.
Is very straight forward.
It's also directly on the wall of a museum.
I really like it because it feels like you transfer than the work and
you make it part of the walls or the institution is less an object or
it has less the rears through the photographic object,
the photo, the prints and the wall it's more one.
Sarah MeisterCurator
