Places Spaces
An experiment & exploration of my journey, visually depicting my personal relationship to various cities and particular physical locations. One can think of these works as visual journals.
Places Spaces
personal cartography
A visual exploration of my journey, depicting my personal relationships to particular physical locations. One can think of this work as a visual journal. These works are representative of how I visually illustrate my emotional or psychological relationship to a particular location. It is my attempt to map, graph, plot, chart, diagram, collage, or create some kind of visual journal of these locations and my emotional relationship to them.

Geographically what can be defined as a "place" is connected to my emotional state defined as a "space" in these works. A spatio-visual link is thus established between myself, my emotional states, architecture, travel and cartography. After all, part of the magic of geography is when it takes a on  human element, when places and spaces become more than just physical coordinates and locations, and are emotionally and personally significant.
Memory in Place: An Art of Mapping

The art of memory had always been a matter of mapping space and was traditionally an architectural affair. In the first century A.D., more than a hundred years after Cicero's version, Quintilian formulated his architectural understanding of the way memory works, which became a cultural landmark. To remember the different parts of a discourse, one would imagine a building and implant the discourse in site as well as sequence: that is, one would mentally retraverse the building, moving around and through space. revisiting in turn all the rooms that had been "decorated" with imaging. Conceived in this way, memories are motion pictures.

Source: Atlas of emotion: journeys in art, architecture, and film By Giuliana Bruno


As Frances Yates show in her seminal study on the subject, the art of memory is an architectonics of inner writings. Such a reading, in fact can be extended all the way from Plato's "wax block" of memory to the wax slab of mnemonic traces impressed on celluloid, in Freud's "Mystic Writing Pad." In Cicero and in Quintilian, whose art of memory is particularly relevant to this study, the type of inner writing that is inscribed in wax is architectural. Places are used as wax. They bear the layers of a writing that can be affected and yet written over again, in a constant redrafting. Paces are the site of a mnemonic palimpsest. With respect to this rendering of location, the architecture of memory reveals ties to the filmic experience of place.
Color is forever, yet not forever. Destined to fade even as it dazzles. Except in the vividness of memory. Where beauty is timeless.
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