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This work is to explore the static performance of memory in dynamic time. My friend is the protagonist in the photo, and what is recorded is a conversation between me and her about memory. This is the memory of a conversation between me and her from my viewpoint, the expression and documentation of the memory in the present time. For her, it is the experience she recalled in the past, and the memories that happened in the past are recorded through her facial expressions. The feelings you have when you see this work are memories that happened in the future.
Duan, JX. (2021) I think what I think [oil painting].
150 x 140 cm
Camberwell, London
Sort of images of work in a gallery situation
The Joseph Cornell Box
Habitat Group for a Shooting Gallery, 1943. Photograph: Mark Gulezian
A Parrot for Juan Gris, 1953-54. Courtesy of Quicksilver/The Joseph and Robert Cornell Memorial Foundation/Vaga, NY/Dacs.
Untitled (Celestial Navigation), 1956-58. Courtesy of Quicksilver/The Joseph and Robert Cornell Memorial Foundation/Vaga, NY/Dacs
Cornell is best known for his ‘shadow boxes’: modest, glass-fronted constructions which transport the viewer into imagined realms. The box is the central metaphor of Joseph Cornell’s life, just as it is the signature element of his exquisite and disturbing body of work, his factory of dreams.
My Analysis Questions of Joseph Conell's "shadow boxes."
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What are "shadow boxes"?
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Why his "shadow boxes" inspire me a lot?
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What is the motive for archiving and collecting memories by the boxes format?
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