Blind Spots

To Don One’s Home Like a Dress (or, The Blind Spots of The Backwoods), (De)Construction of Remembrance #1–6
To Don One’s Home Like a Dress (or, The Blind Spots of The Backwoods) grapples with memory and recall and visualises different approaches to the past. One of the protective mechanisms of humans is the colouring of one’s own past. Reviving past events and experiences may lead to the falsification of memories, be it consciously as a lie or false statement or unconsciously as a fake memory which is thought to be true even by the persona recalling it. To Don One’s Home Like a Dress (or, The Blind Spots of The Backwoods) shows the childhood landscape, a glance into the past, as it were: Cut-out squares stand for the culture of remembering, they stand for the way individuals and society deal with the past and with history, and they draw attention to the “blind spots” of uncomfortable events with empty spots. Parts of the drawing have been cut out and rearranged and now point to a cover-up and/or the reinvention of history. (De)Construction of Remembrance #1–6 specifically relates to the reinvention of memories: Materials and clippings of the first drawing are further used in the second one. The parts remain; yet the image is new and has nothing to do with the real memory. Every one of the six works also re-uses parts of To Don One’s Home Like a Dress (or, The Blind Spots of The Backwoods). Blind Spots cause a re-reading of events.