Home As a Site Of Deconstructed Ideological Meaning In Art

The complexity of modernisation has significantly faded the traditional representations of both: family and home, as the society starts to recognize the dynamics of vigorous contemporary life. Retrieving the everyday from the common place becomes key to distinguish the differences, similarities and directions the society is heading towards where construct of home converts into a polarity in its ideological meaning. The driven ambiguity of ‘home’ and ‘house’ challenges the dual representation and symbolism which is torn between emotive and physical conditions.

House as a physical and solid construct, symbol of: solidity, stability and security defines the spectacle of everyday life. The invisible line within the apparatus of home becomes much more complex. It’s capacity of meaning found under the subject of home generates the feeling of constructive deconstruction. Investigating spatial constructs of domestic interiors and objects, raises questions around the family and home functions which undeniably relate to our practised qualities of feelings, memories and experiences which fundamentally shape our profiles of individuality and self-expression within the duration of our existence. The spectacle of everyday life becomes a frame of our artistic manifestation, a fundamental base for communication of our corner of the world, where interconnectedness between art and life becomes inseparable. Notion of home stimulates and arouses our viewpoints, generating complexity, frustrations and beliefs. What trigger’s us positively or negatively, generates a platform to communicate visually, embracing the notion of personal voice and individual experience to craft a frame of purpose and significance, generating the boundary between ‘living art’ and ‘art of living’.

The images of domestic spaces reflect back to us the attitudes, material and bodily arrangements which we call internally (Marcus, C.C, 1997). Home imagery can be considered as a reflective surface, which questions the ontological meaning of its function, generating flashbacks which unlock the emotional responses gathered by our imagination, nurtured expectations and dreaming. Home can be considered as a fundamentally psychological perspective, which distorts and adapts, as we reach the settlement of our identity. It’s a transitional site which grows along with us and inside of us.

Our perception and feeling of home continuously shifts through our lifetime, bringing to us what has been repressed in order to acknowledge and embrace the concentrated meaning of the household. The notion of photography became a memory tool, preserving the past through the act of holding on, where images became records of growth, experiences and memories.

The conserved reality, generated the mechanism of communication and records of domestic movement. Photography as an object produced a sense of existential stillness, fading away the significance of being present in a moment. Meanwhile, the modernisation and accessibility of photographic uses embraced greater attention to the past deforming the instant memory of time and space. This compulsive need of recording, storing and documenting aroused the abstract feeling of ‘avenoir’, introduced by John Koenig, bringing closer look to humane desires to see memories in advance.

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Bibliography

Marcus, C.C., (1997), House as a Mirror of Self; Nicolas-Hays Inc: USA

Koenig, J. (2019). The Dictionary of Obscure Sorrows. [online] Tumblr. Available at: http://www.dictionaryofobscuresorrows.com/ [Accessed 23 Jan. 2019].