The present is either too impersonal, too looming, or too alienating
compared to the intimate and direct experience of contact which the
souvenir has as its referent. This referent is authenticity. What lies
between here and there is oblivion, a void marking a radical separation
between past and present. The nostalgia of the souvenir plays in the
distance between the present and an imagined, prelapsarian experience,
experience as it might be “directly lived”. The location of authenticity
becomes whatever is distant to the present time and space.
-Susan Stewart, On longing:
Narratives of the Miniature,
the Gigantic, the Souvenir,
My current role as an artist has been to examine and deconstruct established
systems, to point out and isolate small parts, and through reinterpreting its content, bring my statement forward to the viewer. In Memento I approached the idea of memory through objects that are displayed in homes, in a decontextualized environment, void of decoration and turning them against the viewer highlighting their own inherent state.
Reflecting back to Stewart’s quote above, the object becomes an existential truth for the owner of the object, a way to hold the memory of a time within the object. Memento shows you the objects, you never had, but relays that at one time you have reflected yourself on to an object.