A SCREENING AND DIALOGUE WITH MEREDITH SELLERS
A photograph posits a truth, a document. Here is a place, a person, a time. They stand in front of their house every year, on Easter, to the left of that bush, for a brief moment as a shutter snaps. The photographs are damaged after the emulsion slowly congealed in a Kodak envelope for 50 years. Their faces are obliterated. One of the two figures is my father, who is dead, and the other is my aunt, who is a person entirely changed from who she was in 1962. But the past is the past – as knowable as a person intimately close to you, and yet entirely unknowable, forgotten as a fleeting mundane moment in your own life. The static nature of these images render the figures in them inert, helplessly fixed in time. Through interrogating them, reenacting and repeating the images over and over in perpetual stagnancy, they can begin to come unfastened, to exist in multiple dimensions. Time is collapsed, as past versions of these figures are propelled into the future by retelling.
Art/Assembly is pleased to present the work of Meredith Sellers in their first event Simultaneously Fixed and Entirely Ignorant. Sellers’ piece Easter 1962 will be screened,
followed by a performative and non traditional dialogue between Sellers and Art/Assembly co-founder Sari Widman. Seller’s work addresses themes such as the nature of memory, the disappointment and pain that inherently comes as our future becomes our present, our perception of past realities, and what happens when we look at our familial past.