Anne Grebby
 
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mnemonic

A narrative is a story or a description of a series of events. If I narrate my version of these events, it can be received and re-modelled by you through your own processes of understanding and translating. In this way, my words/ images have an extended potential. They trigger associative memories, imagination and creative thinking. They might function as mnemonic activators, touching upon something already in you, but as yet, unknown.

In the act of painting, one lays a ‘skin’ upon ‘ground’ upon ‘body’. The ‘object-ness’ of the result differs from the ‘object-ness’ of the original surface. Each action taken in this process transforms the possible outcome. Whether a mark stays or goes, it will have an effect on the result. The accidental and the erased are equally important in the formation of the whole.

In this creative process, everything is situated somewhere between coming and going. The degree of ‘presence’ can be measured according to the participant’s viewpoint. Things are recognisable by their relationship with other things and by their context. The ‘almost visible’ can be defined by the ‘completely visible’ and vice versa.

The act of painting pushes past the surface of appearances and heads for that dark space at the back of the canvas, the not yet visible, the unseen, which has never been and never can be described.

A mnemonic not only aids recall, it must also have a memorable form. It needs to be memorable in itself. Then, it can set something in motion, moving thought from past to present, a process of renewal.

 

The eye seeks itself in a mirror. Passing by the mirror, the reflected self vanishes. A faint after-image is all that remains when the eye closes.

The frame of the mirror marks a boundary between ‘now’ and ‘then’, the immediacy of the present and the ambiguity of the past. It also functions as a place for future projection, creative speculation.

Within the frame, events pass unnoticed. Reality quietly touches upon the surface of itself reflected there.

Something interesting begins to happen when the mirrored world seeps through the glass surface.

The open space between mind and painting is a place where thoughts materialise through a reductive process, in which unnecessary layers are pared away in order to move closer to the core of the subject.

It’s an interactive, reflective place, a site for tracking, evidencing and forming something new.