There is an inevitable relationship between the lens and a subject when we use a camera to capture an image, proving its existence. On the other hand, halations, gradations and blurs clash with the purpose of recording. The reason why I am attracted to this aspect of photography is because I can recognise that this information has been recorded by the camera and not by our eye or our memory. New technologies prevent halation and blurring, offering us a clear and sharp image. It is more attractive than the reality that our eyes can capture. Hence we increasingly depend on the eye of a photographic camera instead of our own eyes and our time of direct observation of the diminished object.
During my research, I collected the fragments which disappeared because of halation, blurring or gradations and tried to save the information that remained. I extracted these fragments of digital noises and colours that usually get in the way of our gaze. By crafting these repaired fragments and these noises into a patchwork, I realised that what I’d gathered together were lost moments rather than a lost image. Contrary to the custom that expects photos to be “frozen” on paper, I wanted to use shadows, and to freeze the image directly in the mind of visitors. Here, photography isn’t frozen but evanescent and it’s the visitors’ eye that proceeds in the recording. This project offers us the time to rethink our relationship with photography at this time, through the question: What does “to be taken in a photograph” really mean?