| The Mnemonic Function of the Painted Image |
Alison M. Gingeras
| "Not being remembered at all: this has, in the end, been the fate of the subjects of most photographs." Geoffrey Batchen |
| The desire to ensnare and preserve memory is a fundamental human pursuit. Photography, with its capacity to indexically depict the world, long seemed to surpass painting as the optimal tool for capturing the fleeting instant. Yet amid the overabundance of photographically generated images in the world today, photography has slowly revealed its limits. The advent of photography has taught us that memory is not precise; it is nebulous, malleable, ever-changing. The sharpness and precision of camera-made images conflicts with the way the human brain remembers. As photo historian Geoffrey Batchen provocatively argues the "straight" photograph has always been an insufficient vehicle for memory. Over the course of the medium's popularization, people have found ways to transform photographs into objects by adorning them with paint, elaborately framing them, incorporating them into jewellery or devotional objects. The aim of making these hybrid photo-objects is to enhance their memory capacities through sensorial manipulation. These embellishments counteract the fact of death, and aid the photograph in its struggle against being forgotten by the living. Certain contemporary painters have long since understood the mnemonic insufficiency of the photograph and have capitalized on their own medium's strength in this domain. The painted image, with its material sensuality, tactility, and atmospheric possibilities, corresponds more closely to the imprecision of the human brain's mnemonic functions. Memory is often triggered by the banal, by otherwise vacant or impressionistic details that prompt the senses through association. Painted images precisely because they lack the pictorial authority and truth-telling capacity of photography can more easily trigger a free play of association or become a catalyst for a web of connections that relate to the viewer's own memory bank. Inverting the photograph's claim to instantaneity, the painstaking, artisanal nature of a painting's own making metaphorically relates to the mental intensity and time required by the act of reminiscence. Once threatened by the advent of photomechanical devices, painting has struggled against slipping into irrelevancy, in the same way that human beings grapple with the possibility of being forgotten. Yet since the contemporary viewer has become so saturated with camera-made images, hyperrealistic forms such as photography and film have become banal and ineffective. Painting has regained a privileged status. The medium's tactility, uniqueness, mythology and inherent ambiguities has allowed painting to become an open-ended vehicle for both artist and viewer to evoke personal recollections, to embody collective experience and reflect upon its own history in the age of mechanical reproduction. |
| Bob Gravenor Fine art paintings for sale and by commission, Art lessons. |
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