Writing and filming my everyday life is an approach that I do through a work of fragmentation, erosion of my Self and then reconstruction during the artistic creation of narratives, visual and textual works projected in installations video, thanks to the memories they evoke.
Indeed, my diaries – Life-Time Log (LTL) and Real-Time Log (RTL) – reflect the dispersion and the fragmentation of my Self which, struggling with forgetfulness and recollection, spreads in a pile of autobiographical data that I have been gathering for years.
I, certainly, grasp my Self in fragments, but the creation of narratives, by juxtaposition of textual and visual data, is a way to mend the spare parts of my identity puzzle, to implement though a process of sorting and selection, an update of my Self when creating μnarratives through my Self-Creation System (SCS).
With this in mind, the crossing of my Self in an artistic implementation turns out to be less a quest for personal identity than a quest for Self-knowledge , as an object of knowledge, Me-Self, and as a subject of knowledge, involved creator , I-self, in a process of artistic creation.
The challenge of my art-based research is to create μnarratives from autobiographical fragments in order to be able to provide clues, to bind episodic memories recovery contexts and specifically those that define the Self. To remember is, in this sense, essentially a test of the subjective feeling of the Self, by extracting knowledge and meanings from personal experiences.
Therefore, by making room for a temporality that could be defined as the one of the in-between, both subjective (chronesthesia) and pure (Bergson), between the evocation of synchronicities – remembrance-moments – and diachronicities effects extended over time, a μnarrative tends to weave ties between perception, cognition and emotion through a mental journey to the center of my autobiographical memory.