I am there, I am not there |
|
|
|
|
|
|
|
After previous project ‘Reasons to Travel’, exploring the idea of travel and home, I started to be |
|
interested in the relationship between people and the space, how does it influence and reflect |
|
|
|
|
|
our everyday life, especially for the space we spend most of our time within, home. |
|
|
|
In the project, I photographed domestic spaces from different houses where I’ve stayed or |
|
|
|
|
|
visited. Instead of the human figures of the residents, in the images, you can only see the traces |
|
of them, the evidence of the existence and the clues reflecting who they are, which are made to |
|
trigger the viewers’ curiosity toward other people’s personal life. They are invited to peep into a |
|
|
|
|
|
strange house. |
|
|
|
However, The authenticity of photography is being challenged and questioned here. In |
|
|
|
|
|
contemporary art, the boundary and distinction between documentary and studio photography |
|
are disappearing. From 1930, Bill Brandt was selecting locations and recruiting models to |
|
make pseudo-documentary scene. Jeff Wall can rebuild a nightclub in his studio while Philip |
|
|
|
|
|
Lorca di-Corcia was shooting street portraits with all the artificial lighting even without sitters’ |
|
notice. The definition of reality in photography is changing, what we’ve seen are not necessary |
|
believing. Reality depends on the perceived notion of real. Even the most natural-looking |
|
|
|
|
|
everyday life scenes can be staged. |
|
|
|
|
|
|
|
|
|
|
|
Home, the most intimate spaces in our life, should be reflecting the occupants’ personalities |
|
|
|
|
|
and everyday routine. However, the objects in the images are the real belongings from the |
|
|
|
|
|
residents, while the displays are staged, indicating that even the most personal place can be |
|
|
|
|
|
deceiving. Photography is not a truth carrier rather than a storyteller. It tells parts of the tenants’ |
|
|
|
|
|
life, while keeping rest of them in mystery. While viewer’s curiosities are being triggered, |
|
|
|
|
|
wondering about who’s living here and what kind of life he/she has, at the same time, they are |
|
|
|
|
|
being fooled by photography and the artist. The pictures here are oscillating between real and |
|
|
|
|
|
fiction. |
|
|
|
|
|
|
|
|
|
|
|