The Matter of the Early 2000s
The way I remember my childhood is fragmented and vague. There’s an overarching fog of them from which I retrieve piercing glimpses of spaces, objects and different activities that are as vivid as the present.
These works serve as collages of childhood; attempts to piece memories together while celebrating their fragmentary nature. To embrace the duality of this concept, I created a series of miniature surrealist photographs that dive into some of the more delicate memories from my life and community and extract key signifiers of them.
Some of the most sincere communal spaces I’ve encountered have been classrooms and hallways. These spaces became the foundation for many of my memories and cultural development in post-Soviet, urban Tbilisi. Working on this series was one of the ways I’ve stayed in touch with and explored my past while living in the United States for over eight years.
These works serve as collages of childhood; attempts to piece memories together while celebrating their fragmentary nature. To embrace the duality of this concept, I created a series of miniature surrealist photographs that dive into some of the more delicate memories from my life and community and extract key signifiers of them.
Some of the most sincere communal spaces I’ve encountered have been classrooms and hallways. These spaces became the foundation for many of my memories and cultural development in post-Soviet, urban Tbilisi. Working on this series was one of the ways I’ve stayed in touch with and explored my past while living in the United States for over eight years.