Arhiv odsutnog

U radu se kroz prostore obiteljske kuće, dvorišta i vrta dokumentira odnos prisutnog i odsutnog, a također se osvrće na predmete, prostorije, objekte i kutke koji bilježe osobne fotografije i na kojima se prepoznaje introspektivan senzibilitet. Uz to se u opreku postavlja odnos između prisutnih, stvarnih predmeta u prostoru i misaone slojevitosti ambijenta. Navedeni se odnos pritom povezuje uz određene autobiografske vremenske periode i događaje kako bi ostali upamćeni. Problematika reminiscencije, prijenos informacija te odnos svijesti i podsvijesti pojavljuju se u mojim prijašnjim radovima, a u Arhivu odsutnog međusobno se prožimaju i propituju sjećanja i trenutke koje vežem uz prostore obiteljske kuće. Fotografije nastojim oživotvoriti direktnom intervencijom, preko njih slažući imaginarne papirnate konstrukcije koje pokrivaju neke dijelove prostora, ali ih istovremeno i nadopunjuju. Tijekom samog procesa rada, posebno se posvećujem jednom prostoru, blagovaonici, koja se, zbog svoje funkcije kojom povezuje sve članove obitelji, nameće kao središte kuće. Blagovaonica tako postaje sinonimom za zajednički prostor namijenjen obiteljskom druženju. Taj prostor i sve njegove pripadajuće prošle i sadašnje elemente pokušajem afirmirati kroz video rad. Diplomski je rad stoga podijeljen na dva segmenta, objekt-knjigu i video rad, a oboje se bave istom problematikom: raščlanjivanjem i analizom misaonih elemenata osobnih prostora.In this thesis, I document the relationship between the present and the absent through the family house, yard and garden. I glance at objects, rooms, objects and corners that record personal photographs and through them I recognize introspective sensibility. I contrast the connection between the physically present, real objects from the area with the mental stratification of the ambience, and I personally connect it with certain time periods and events that I want to remember. The issue of reminiscence, the transfer of information and the relationship between consciousness and subconsciousness appear in my previous works. Through the Archive of the Absent, memories and moments that I associate with the family home are intertwined and questioned. I try to vivify photographs by direct intervention by arranging imaginary paper constructions on them, which thus cover some parts of the space, and at the same time complement it. However, during the work process itself, I decide to additionally dedicate myself to one space, the dining room, which imposes itself as the center of the house due to its function of connecting all family members. The dining room thus becomes synonymous with a common space intended for family gatherings. I try to affirm this space and all its past and present elements through video work. The master's thesis is therefore divided into two segments, object-book and video work. Both deal with the same issue of analysis and analysis of thought elements of personal spaces