The “found history” is closely associated with “found objects” (objet trouve), a rule which favors photographic act based on looking, finding and taking pictures. The same rules are at work in the present collection. Here the difference lies in that we observe this approach in the form of simulacrum not representamen.
The “found history” is not only closely associated with found objects but extends the structural rule of the latter to its subjects. The constructed photographs included in this collection have been created by the juxtaposition of historical motifs and backgrounds seen and captured in various parts of this extensive land. Without the mediation of the photographer, these signs could not create the atmosphere which is displayed before our eyes here.
The “found history” is not the retrieved history. For the artist nostalgia and yearning for the past; a symbolic and metaphoric status accorded to these works; adopting a critical approach or any other possible interpretation are secondary and additional suppositions. The most favorable instance of communication is to engage the viewer in real moments and make him/her experience the passion and amazement of what is going on in the images.
The fourth chapter of the Verisimilitudes Project has been titled the “found history” which is a non-historical dialogue with history, history as a persistent background of our today’s collective unconsciousness and what we unavoidably have to face, whether we opt to admire, leave, revive or even eliminate it!