The Memory as a

Work of Art


We planted false memory using gui-

ded imagination, or dream inter-

pretation, others using hypnosis, we


planted false memories by exposing

people to other people’s histories or

memories, we plant false memories


by just feeding people with false in-

formation, in some studies, the new


kind of high tech way is to plant false


memories though doctored photogra-

phs, that doctored photograph work is


pretty interesting, the first study that

was done, [...] they took a photograph

of the subject when the subject was

a kid and photoshopped a picture of

him and his dad in a hot air balloon,


and the subject would fall for this me-

mory and start to make up a new sto-

ry about the doctored photograph.17


When I listened to this speech of Dr. Eli-

zabeth Loftus at the Harvard University


Channel, I remembered the therapy that my

cousin did with photos to recover from her



memory loss, I hope that the photos she used

were not photoshopped, so she really got

parts of her real memories back and didn’t

make them up.

I also realized how important it is for me to

make a documentation of my life through

selfies, so no one can plant false memories

if I ever forget things. I hope to remember

special moments by looking at selfies, the

real documentation of my life with the point

of view I take at that moment. I also realized

how fragile our memories are and how easy

they can be influenced and changed.


Dr. Eric Kandel lecture about Memory and

the Work of Art


In order to understand the psycho-

logical function of others it is very

useful to begin by analysing oneself,

understanding oneself and both the

medical people, the psychoanalysts,

the writers and the artists feel that

very strongly.



A recipe for making

the Eidolon


1. Taking the selfie as a continuous, duratio-

nal performance with bodies and technology from 2015-2018.


2. The selection of the selfie of the person I

want to be part of my thesis.


3. Making and sending out the questionnaire.

One question in the questionnaire is: Would

you like this selfie to be painted? If the ans-

wer is yes, I paint it.


4. The process of turning the digital material

into a painting.


This process in which my body, my mind and

specially my hands can touch, feel and smell

the organic material is very satisfying. I feel

and enjoy the sensual connection that I have

with the material: touching the wood, cutting

it, smelling it, allows my organism to percei-

ve qualities of the object like temperature, its

roughness, softness, hardness, weight.




Master Exhibition at the Museum PasquArt

Biel - Switzerland

June -2018


Master Exhibition at the Museum PasquArt

Biel - Switzerland

June - 2018



For the process of making the canvas Mike

Nguyen is my guide. He is doing a Master in


Contemporary Art as a painter at the Univer-

sity of the Arts in Bern.


I’m lucky that my studio is next to his. In my


eyes he is a painting expert and a very gene-

rous and talented artist. We’ve met two years


ago in a sculpture seminar and since October

2017 we are working together. He

helps me to reflect about my work and the

process. In conversation, I explain my ideas

and thoughts to him and it clarifies them for


He guides me in making the transition from

the digital selfie to the real painting.

Making the frame is like making a sculpture.

Mike helps me to find the right format of the

frame, we cut the wood, assemble the frame

and sand it. When the frame is finished, we

stretch the canvas on the wood. Then we bath

the framed canvas in very liquid white paint

and let it dry until the next day. This process

feels like a ritualistic performance.




I’m focused on me a lot, I feel sometimes

that I live in my own world. It is comforting

to think that this focus gives me the ability

to understand others. At the same time, it is

important never to forget that you can’t leaveI’m focused on me a lot, I feel sometimes

that I live in my own world. It is comforting

to think that this focus gives me the ability

to understand others. At the same time, it is

important never to forget that you can’t leave





your own point of view, that you always see

the world through your own eyes – or camera


Schiele did in one year more than one


hundred self-portraits, he was inte-

rested in using himself to depict his in-

side in to himself. He felt that he could


not do it with facial expressions alone,

he could not do it with hands alone, he

had to use his whole body in artificial

ways and often nude, he even painted

himself masturbating. The point I’m

trying to make is that these people

have terrific insight in psychology, an

unconscious psychological process,

they were surprisingly influenced

by medicine directly and indirectly

because at this time everybody was

reading Freud.

In a way, I can identify with what is said here

about Egon Schiele. For me, it is not enough


to take common selfies, I need to paint my-

self and the other using my own body fluids,


using my nails as pencils, so that my feelings

about the moment directly transform without

an external mediator. I want to be one with

my paintings, become my paintings.


I think it’s because I like to analyse my fee-

lings while I’m painting and I love visualize


these feelings with my own body.

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