Teodora Gazdag

I created my project in search of a connection - a connection of the teleological paradox of time to its limits that the measurement of time imposes on us. My bodies are frozen in time like amber, representing not just the object of the viewer but the perspective of the viewer itself as well, thus recreating the whole notion of viewing through the process itself which is thus related and positioned outside of our concept of time. Time is a mechanism of organizing agents, assets, tools and processes - but in this collection of images the viewer is also looking at her/himself as well.

Survival is not without its price - in this post-apocalyptic body narrative victory arrives through permutation. Faces turns into masks, human arms into mechanical - as movement keeps bodies alive within the nuclear fallout of information overload, sensory overload and environmental overload, the sweating and pulsing body moves, phases and re-iterates itself. Open, empty, hallucinogenic spaces catalyse more creative mutations caught up in the consensual hallucination of a photograph: as bodies are caught in mid-movement, their static promises a continuation in kinetic energy, a promise of survival.

The next step of human evolution in this end-term scenario is inevitably a scavenger - a human that gathers every tool possible to ensure its continued existence. The Cartesian mind/body dualism is nullified, the Marxist and feminist issues with dominance of labor by capital or technological producion over human reproduction are equally put to rest. This in itself is a post-postmodernist take on Ihab Hassan's table on the contrast of modernism and post-modernism. Where modernism offers presence and postmodernism offers absence, post-apocalytic future scenarios require overlapping existence of man and machine, both functional and hybrid. if they stop moving, they are instantly killed. So they move. This permanence of movement guarantees survival since millennia - and this will never stop, not in still images.

I firmly believe in the idea that the measurement of time can work alongside another linearity that looks not as a circular shape and not a straight line (seen from above, from an outsider's point of view) but as a graph of possiblities where the beginning and end points are firmly nailed into the "fabric of time" but the path between these two points is not linear, it is a zig-zag from milestone events in a lifetime. These images are Polaroid moment milestones that help the viewer to grasp the notion of "there-ness", "then-ness" and the apparent immortality of the subjects who are captured within them.

The existence of these milestones further complicates an alternative understanding of time - do these milestones exist in our own minds or are they affected by the memories of those involved in those respective memory pockets? Is time a connection of multiple webs strewn across thousands of miles and thousands of people? If so, time is also equivalent to forgetting and closure. In this sense, the images of [IN SEARCH OF LOST TIME] are scattered - not in the present time and definitely not in the future.

These notions of an alternative understanding of time inspired me to create and illustrate the sequential passing of time through places, so that these images could fill them again with life, even with memories that are distorted through our consensual hallucination of reality.