Reality is incoherent, lacking its certainty on any possible level while our selves are being stolen from us. We are hypnotized into a psycho-physical zombie state of being. What are the certitudes? What are the navigation principals? Sometimes fractional reflections are outlined on the verge, mapping perceptual dim, though concurrently substitutive tracks of perception.
The video work Noli Me Tangere echoing with Kafkaesque nihilism by exposing critical elegy, where poetics of distraction and violence interlaced into hypothetical liberation by nihilum – nothingness as crucial negativity, as mental transformation, therefore a cure.
The film exposes two rituals enfolding variable references, that refuse to be drained into a single interpretation. Thus questioning our assumptions of reality and ourselves, allowing to encounter directly the immense mystery of our consciousness and the world.
The inter-cut between washed out family photographs (picture development in reverse), and extraction of fish eyeballs from its sockets is a violent occurrence of erasure and blindness, but at the same time it is a signifier of possible awakening to ‘suchness’ – a Buddhist term of void and flux, which directs us to experience the existence as such, to experience our own ‘suchness’ directly realizing arbitrariness and indistinctness of reality.
At the interval between flesh and spirit, within the liminal territory of ‘this and that’, neither this or that’, the Son on his way to his Father is an anti-body, who rejects the sickening and defiled world.
As a signifier of transformation Noli Me Tangere marks erasure/exposure and mutilation/blindness as a vehicle to a critical sight of that which cannot be named.
