This work plays with remembering. Specifically focussing on the aspect of letting go, but not being able to, clinging to a memory and the inevitability of the changing memory. For this I draw inspiration from souvenirs. Usually considered trivial, kitsch or trash, souvenirs inherently contain a very poetic element: reminiscing. They presume to have the ability to capture an entire place or event in one single object. The scenes are supposedly recorded in often bright and clear settings, but they can never live up to the actual experience. When we return home, the souvenir comes with us. We glance at it ever so often, maybe hold it close; remembering. How does this object affect our reminiscing?

Founded by the urge to not forget, to have proof of your endeavors, but simultaneously never truly capturing it, the souvenir becomes an in-between object, somewhat bittersweet and melancholic in its essence.

By using this intrinsic value of the souvenir (from French meaning ‘to remember’ or ‘remembrance’), I try to keepsake specific events, places or objects in this piece.

Other than that, my work is also an ode, as Ursula K. Le Guin writes, to ‘the greatest invention of our ancestors’1: the container, the vessel.   

      1 The Carrier Bag Theory of Fiction (1986)

   
                
©julia van eijden, 2021