GREETINGS FROM OBLIVION – MARCUS OLIVER OBERT

GREETINGS FROM OBLIVION

GREETINGS FROM OBLIVION

The trigger is a blow into reality, it is action that, in the process of photography, is followed by reaction and post-reaction.

 

The OBLIVION project revolves around the definitive relationship between reminding and forgetting. The intersection of these two states defines the state of OBLIVION.

 

The gesture of pressing the camera trigger itself is a blow into reality. The construct of reality is viewed and understood as an individual and fundamentally infinite network capable of interconnecting as well as both attaching and detaching.

The performative plane of the project is closely intertwined with the metaphorical expression of the trigger, which is manifested into hard blows into the construction that progressively reacts further.

The situation is embedded into a neutral yet open space. The setting is one of a long abandoned, industrial hall built entirely of concrete that was constructed only to contrive to handle a third world war. An object made of chaotically constructed scaffolding is inserted into the scene.

 

The scaffolding creates an association for the human head and it’s thoughts, which, much like the scaffolding, can be built up, reshaped and infinitely added to and detached from. The construct of given reality is to be viewed as a shape of environment.

 

The descriptive means of the gesture is to give closure to the previous action, which is to scatter delicate yet primarily quantitatively uncountable dust over the whole construction. The dust is to define thoughts themselves.

The idea is recast into a performative plane, in which I express – via a sudden and intentional gesture – this three-phase relationship, that gives shape to the fact that the process of photography, for me, fundamentally means the decision to forget.

A self-portrait of the author is embedded into the very core of the construction. A detail of a tattooed line is portrayed. The horizontal line is an expression of the borders between forgetting and resemblance. Through the act of hard blows, the accumulated thoughts are transferred below the line  – into oblivion, or above the line – they are remembered. The very principle of post-reaction is created by the effect of the dusted photography pulsing.

 

Memory is obsession, a longing for a reminder. Memory resonates. The photograph resonates.

 

Under the influence of resonating reality, thoughts tend to head into oblivion . In the end of the act, photography is perceived as the decision to forget.

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GREETINGS FROM OBLIVION – MARCUS OLIVER OBERT

GREETINGS FROM OBLIVION

GREETINGS FROM OBLIVION

The trigger is a blow into reality, it is action that, in the process of photography, is followed by reaction and post-reaction.

 

The OBLIVION project revolves around the definitive relationship between reminding and forgetting. The intersection of these two states defines the state of OBLIVION.

 

The gesture of pressing the camera trigger itself is a blow into reality. The construct of reality is viewed and understood as an individual and fundamentally infinite network capable of interconnecting as well as both attaching and detaching.

The performative plane of the project is closely intertwined with the metaphorical expression of the trigger, which is manifested into hard blows into the construction that progressively reacts further.

The situation is embedded into a neutral yet open space. The setting is one of a long abandoned, industrial hall built entirely of concrete that was constructed only to contrive to handle a third world war. An object made of chaotically constructed scaffolding is inserted into the scene.

 

The scaffolding creates an association for the human head and it’s thoughts, which, much like the scaffolding, can be built up, reshaped and infinitely added to and detached from. The construct of given reality is to be viewed as a shape of environment.

 

The descriptive means of the gesture is to give closure to the previous action, which is to scatter delicate yet primarily quantitatively uncountable dust over the whole construction. The dust is to define thoughts themselves.

The idea is recast into a performative plane, in which I express – via a sudden and intentional gesture – this three-phase relationship, that gives shape to the fact that the process of photography, for me, fundamentally means the decision to forget.

A self-portrait of the author is embedded into the very core of the construction. A detail of a tattooed line is portrayed. The horizontal line is an expression of the borders between forgetting and resemblance. Through the act of hard blows, the accumulated thoughts are transferred below the line  – into oblivion, or above the line – they are remembered. The very principle of post-reaction is created by the effect of the dusted photography pulsing.

 

Memory is obsession, a longing for a reminder. Memory resonates. The photograph resonates.

 

Under the influence of resonating reality, thoughts tend to head into oblivion . In the end of the act, photography is perceived as the decision to forget.

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GREETINGS FROM OBLIVION – MARCUS OLIVER OBERT

GREETINGS FROM OBLIVION

GREETINGS FROM OBLIVION

The trigger is a blow into reality, it is action that, in the process of photography, is followed by reaction and post-reaction.

 

The OBLIVION project revolves around the definitive relationship between reminding and forgetting. The intersection of these two states defines the state of OBLIVION.

 

The gesture of pressing the camera trigger itself is a blow into reality. The construct of reality is viewed and understood as an individual and fundamentally infinite network capable of interconnecting as well as both attaching and detaching.

The performative plane of the project is closely intertwined with the metaphorical expression of the trigger, which is manifested into hard blows into the construction that progressively reacts further.

The situation is embedded into a neutral yet open space. The setting is one of a long abandoned, industrial hall built entirely of concrete that was constructed only to contrive to handle a third world war. An object made of chaotically constructed scaffolding is inserted into the scene.

 

The scaffolding creates an association for the human head and it’s thoughts, which, much like the scaffolding, can be built up, reshaped and infinitely added to and detached from. The construct of given reality is to be viewed as a shape of environment.

 

The descriptive means of the gesture is to give closure to the previous action, which is to scatter delicate yet primarily quantitatively uncountable dust over the whole construction. The dust is to define thoughts themselves.

The idea is recast into a performative plane, in which I express – via a sudden and intentional gesture – this three-phase relationship, that gives shape to the fact that the process of photography, for me, fundamentally means the decision to forget.

A self-portrait of the author is embedded into the very core of the construction. A detail of a tattooed line is portrayed. The horizontal line is an expression of the borders between forgetting and resemblance. Through the act of hard blows, the accumulated thoughts are transferred below the line  – into oblivion, or above the line – they are remembered. The very principle of post-reaction is created by the effect of the dusted photography pulsing.

 

Memory is obsession, a longing for a reminder. Memory resonates. The photograph resonates.

 

Under the influence of resonating reality, thoughts tend to head into oblivion . In the end of the act, photography is perceived as the decision to forget.

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MarcusOliverObert-f699cd11

Marcus Oliver Obert

oliver.obert@icloud.com

0903866448

MarcusOliverObert-f699cd11

Marcus Oliver Obert

oliver.obert@icloud.com

0903866448

Vysoká škola výtvarných umení v Bratislave

Katedra

Fotografia a nové médiá

Ateliér

Atelier Ø fotografii

Ročník štúdia

3.

Stupeň štúdia

Bc.

Vedúci pedagógovia

doc. Mgr. art. Silvia Saparová, ArtD. , Mgr. art. Dominika Ličková, ArtD.

Vysoká škola výtvarných umení v Bratislave

Katedra

Fotografia a nové médiá

Ateliér

Atelier Ø fotografii

Ročník štúdia

3.

Stupeň štúdia

Bc.

Vedúci pedagógovia

doc. Mgr. art. Silvia Saparová, ArtD. , Mgr. art. Dominika Ličková, ArtD.