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This project sprung form an accidental discovery of my family’s photographical and documental archive in the attic of our house in the Republic of Moldova. I came across a rather large and quite old archive containing letters written in the ’50-’70 era, family photographs and my grandmothers personal documents revealing her active political life as a member of the Communist Party of the Moldavian Soviet Socialist Republic. The first contact with the archive was accompanied by hostility and emotional detachment fueled by the fact that all documents and letters were written in Cyrillic and not Latin. As emotional this first contact with them proved to be, that much intense was the rupture between myself and the national (as well as my own) historical past. This anthropologic museum has managed throughout the years to preserve historical elements regarding society, social relations and lifestyle. The body language of the people in the photographs also expressed the notion of imposed body postures directed by social norms. The project’s discourse is situated on a problematic level woven to personal as well as collective memories of a people in transition, in which the only way of historical debauchery involves comprehending and embracing the historical and ideological trajectory. This collection of photographs and documents generated a subconscious impulse to combine the fragility as well as the ephemeral element of the flowers with the characters in the pictures while introducing the physical element which serves as a link between myself and the memory. By covering the faces of the people with flowers, which creates a state of anonymity, I sought to show the uniformity to which they were obliged as well as the loss of identity.

Doina Domenica Cojocaru
Gene Guynn
Azim Haidaryan
Lambis Stratoudakis
Jeff Huang
Floating Bikes 1
Davey Baines
Samantha Keely Smith
''The thing...'' oil on canvas,70/50/4 sm
Asia Dzhibirova

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