The photography series “The Traces of Gesture” explores two perceptual notions of the body: body as the physical and metaphysical aesthetic expression of mind in form of gesture, and body as a constructed gesture by the physical environment.
The first hypothesis is based on the sense of proprioception by which we acquire information about the positions and movements of our own bodies, via receptors in the joints, tendons, ligaments, muscles, and skin. Vision and hearing are commonly recognized as aesthetic senses by which we experience beauty, grace, and other aesthetic properties, while smell, taste, and touch are not. However, according to the theory of proprioception as an aesthetic sense, one can make aesthetic judgments of the movement based on proprioceptive experience. There is a certain aural feeling within the body, which is not based on visual perception of our self, it is more like the inner sense by which the body is aware of itself. Even with the eyes closed, if we were to move our arm in such a way, the movement would feel graceful, as an unspoken metaphysical reflection of mind, idea and inner energy.
from the Series “The Traces of Gesture”, 2018
4×5″ Analogue Silver Gelatin prints, 50×60 cm
The second hypothesis, body as a constructed gesture by the physical environment, extends the notion of proprioception by introducing an external factor. The movement of our body, body language and gestures are fundamentally influenced and constructed by the society, culture, time and the environment we are living in. As a pre-programmed sense in our mind. The concept is to explore these factors and see how the body would act within the different environments, and how the body would interact if these environments would be neutral: no properties, no shadow, no identity. Almost like a white sheet of paper, with a simultaneous richness and absence of objects and subjects, where body and space could become non-body and non-space.
Installation non-body-non-sppace, flour