It is flat but it is deep

it stands on top but stands apart far behind

it is small but it is overwhelming

 

 

Batchelard states:

“It is in the memories of this cosmic solitude that we ought to find the nucleus of childhood which remains at the center of the human psyche. It is there that imagination and memory are most closely bound together.”

 

Childhood here is significant as one recollects what one has forgotten and important for being “the very first time”. This can give us an indication of our relationship with the copy and the original and even more to the image as a trace still lingering of an original, a reflection upon a previous, lost state of being.

 

He goes on to say:

“Isn't meditating upon an origin dreaming? And isn't dreaming upon an origin going beyond it? Beyond our history extends “our incommensurable memory” to take an expression which Baudelaire borrowed from De Quincey.”

 

Memory and imagination here are linked back to a personally lived experience. How can this extend to remembering what one has not experienced? If one does not recollect an experience, has one not lived it? In some cases I use photographs taken by myself. In these I think I am fully conscious of my own memory in connection to the image. On other occasions they are found photographs which I appear in yet I am too jung to remember, taken by whom I can only stipulate, where I can only imagine, yet I can connect with them, there is familiarity, there is reverie.

 

And then:

“Childhood is a human water, a water which comes out of the shadows."

 

Parts of my work as fluid, light, in motion, delicate, fragile. As I plunge into the sleepy world of time forgotten and imagined. 

A READING OF GASTON BACHELARD

The Poetics of Reverie: Childhood, Language, and the Cosmos

Published 1971 by Beacon Press