Untitled (Dear half 5-4-1927)
Who do we choose to remember, and how? This complex emotional terrain brings together the psychological spaces of familial relationships, personal identities and collective memorialisation. In Forgetting is so long, Daisy Patton collects abandoned family photographs, and enlarges them to be life-size portraits. She then paints over the prints to disrupt and re-enliven the individuals. By mixing painting with photography, she furthers the concept Roland Barthes proposed as the “moment of death” (the photograph) into a loving act of remembrance. Bright colour and painted floral patterns adorn these relics with marks of devotion and care.
