Déjà Vu in General
A polaroid picture is intimate, immediate and unpredictable. It has the whiff of the past from the moment it’s made. Each of the hundreds of photographs in Déjà Vu in General contains elements of the things and people I have loved in my life. Some document my circumstances and state of mind most candidly, suddenly; and some are more deliberate, the better to express a more considered range of feelings and perhaps impart a certain, if ambiguous message. And, as in all my work, on one level it is about feminism and being free with our bodies and rejecting the pernicious dynamic of sex shaming that’s all around us. This is a manifestation of my obsession with art’s capacity for progressive subversion; for being a safe(r) place to enact social rule-breaking.
These images are culled from a universe of hundreds more that make up a very personal archive, which is being added to nearly every day, as it has been for a decade. Suddenly after years of not keeping track, like memories themselves, I find I have literally a library of them — and I still want more. As I rediscovered and augmented the series, I immersed myself in re-living, sorting, weighing, meandering, and deciphering… and I discovered I had built something like a narrative, something like a diary of subconscious, episodic impulses composed of myriad feelings now passed, lingering. Like polaroids themselves, these moments are transformed through preservation, like memories in external dimensions, each one a portal to a kind of pocket universe, as if I could take my camera into my own lucid dreams.
• Photographer: Sarah Abramson
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