| Description |
As a designer, I am influenced by the appearance and tactility led to my existence, and perhaps my disposition. In some way; of the materials that surround me. I notice their color, shape, these objects retain a memory of all the things that involved; texture, type and decoration. My subconscious records these them, much like German psychologist Ewald Hering concluded; details and replays them as I design. I have a particular affinity that every living cell contains the memory of the experience of; for things with history. For this reason I am drawn to the the entire series of its parent cells and even those of former; collection of materials that once belonged to ancestors and generations ... every moment leaves traces that continue to affect; family members residing in my grandmother's attic. These items all subsequent physical or mental processes. The past collects in; range from fine china and linens to boxes of letters, photographs, the fibers of the body as it does in the mind and determines the; toys, and other ephemeral materials. I initially justified my way we walk and dance as well as the way we think."; interest in documenting this collection as a way to use my graphic; design skills in service to my grandmother, who feels compelled; to plan a way to distribute her things to her descendants before; her death. HoweverI, am also compelled to record the collection; as bones in the skeleton of my own identity. "In the West, the fact; of collecting is linked to the construction of identity. Baudrillard; points out that it is a dimension of our lives that is both essential; and imaginary, as essential as dreams themselves. By handling; the material things that surrounded my ancestors when they lived, I hope to divine something of who they were and how much; of them is in me. All of the choices they made, minor or major, |
