Between These Hands
In my time working with museum collections I have became particularly taken by the process of object assessment and documentation (digitization). To take an object out of its context or originally intended use and place it within the process of preservation (a white photo tent, within a storage room, within a Museum), the object begins to take on a new purpose. Even the procedure in which it must be photographed literally alters the interaction we are intended to originally have had with the object (an intentional delicacy, the object only touched through blue latex gloves). Sometimes the resulting photograph is completely disparate from the physical object itself, becoming something new, particularly shifting the interpretation of and interaction with the object for the digitizer. It is however the very specific sequence of required photographs that presents alternate points of views, points of unusual interaction.
This work investigates our relationships with objects and memory. I ponder sometimes if I were to digitize my personal objects to help preserve my memory of them, or perhaps if some future stranger did. What would they feel and look like to them? How differently would they be consumed and experienced? Would they ponder how my family's ceramic bowl got cracked, taking special measures to focus the camera on this imperfection? I focused on objects with cracks, signs of use, and evidences of interaction. This installation was comprised of a three minute video loop of rotating objects (each angle required to complete an assessment form), a poster of all the images documented over two months that required the digitizer to hold the object in their hand in order to capture the image and a pile of the used gloves (the detritus of the interaction), a new object.