In the ever growing, ever changing current of images that infiltrate our lives, one is constantly asked to deal with notions of identity. That distinctiveness that builds ones individuality is often grounded in the early stages of childhood, and often times directly linked with ones family. These building blocks help shape our notions of humanity, and as we age, we constantly turn back to images of nostalgia and sentimentality. However in this age of image over-saturation, how can one decipher if these recollections of more contented times were even our own memories at all?
Family Matters raises the question of importance of the universality of the family experience and encapsules it in a fog of shade and uncertainty. Moments that we as viewers are aware of experiencing, yet have no solid proof that these experiences are actually our own. These hazy dreamlike images also bring to light the idea of ownership of the image itself. Does a person have the right to own a memory, or does it belong to us as a whole?
As a constant flicker of cloudy moments in a projection on a screen, we as observers are in continual race to recover these moments before they flash away into another dreamlike impression. Completely encompassed by these fading memories we seem to believe are our own, the viewer is then bombarded further with the intense heat and overbearing sound of the installation itself. This over stimulation leaves feelings of not only discomfort to leave this place of partially owned memories, but once gone, the urgency to recapture these specters in their own minds.
Faceless yet familiar, the haunting images of Family Matters constantly remind us that we are all connected through a shared bank of moments in time; and as that time lags on for us all in age, all of our memories become hazy shades whether we have lived them or not.