Gallería Arnold Manda
©2021, Arnold Manda, Windows I & II, Dreams Imbued. Inkjet prints of digital photographs on matt A4 paper, triptych, 6 × 9″ images. Edition of 3
This triptych explores the photograph as a personal mode of reverie by considering it as an arbitrary token of the specific pseudosensory dream experiences and impressions, rumination, and exertion with which it has been imbued volitionally by tethering these states and their antecedents to its described reality such that certain visual elements will become cues for dreams in lieu of definitive form and narrative, for instance: the reflected light and apparent texture of the water's surface are analogues of the radiant moonlit skin in an otherwise darkened room; browns, oranges, and shadows allude to wood, tungsten lights, and the muddy gravel of a soirée wherein brief moments of solitude are tinged with secret yearning.
©2021, Arnold Manda, Window III (Intermission). Inkjet prints of digital photographs on matt A4 paper, diptych, 6 × 9″ images. Edition of 6
©2021, Arnold Manda, Windows IV (Second Summer). Mixed media collages from inkjets prints on 230gsm matt A5 paper, 11.04 × 16.49 cm images, torn, reconstructed, glued and taped onto 200gsm cold-pressed paper, diptych, 21 × 28.4 cm, 21 × 28.4 cm. Edition of 2 (prints), Edition of 1, unique pieces (collages)
False memories may be constructed to supplement their primary traces and to mitigate unresolved trauma [memories] within the capricious narrative of a dream, which is not dissimilar to a meandering river's shifting to the state of intentionality with the gravity of a waterfall.
In the Second Summer, the collages represent an amorphous dream space which is typified by verisimilitude; and the amalgam of ethereality and truth, suggested here respectively, by the blue midday summer sky that is populated with cirrus or cumulus clouds, and the rootedness of terra firma and its flora.
The collage, with emphasis on the act of tearing, is herein a suitable demonstration of rejecting, revisiting and reconstructing such a distorted memory within a dream space, but the inherent vicarious experiences of the photographic descriptions have become obscured, and their potency has been relegated to their being stifled impressions of nostalgia and solace.
