The ephemeral self : transforming identity through polaroid art

Abstract

This study explores the intersection of memory, identity and impermanence by means of chemical alterations on Polaroid photographs. By applying various materials, such as bleach, vinegar and food colouring to the surface, the Polaroid is transformed into a dynamic artefact; subject to decay and distortion. Moreover, the project seeks to understand how these physical manipulations can be compared to the unreliability and mutability present in our memories and selfhoods, which shift in response to time and external forces. By following a Practice-as-Research (PaR) approach, the project intertwines material experimentation with reflective journaling in order to trace the changes every photograph undergoes as time passes. Through this iterative and hands-on process, the work resists closure and instead offers a durational experience that emphasises change rather than finality. Grounded in both theory and practice, this study interacts with critical ideas that shape its conceptual framework. To name a few, it discusses Barthes’ concept of the ‘punctum’, Deleuze theory of the ‘time-image’ and the notion of ‘distributed authorship’ as explore by Minniti and Lehrman, amongst others. These references situate the work within broader conversations regarding temporality, instability and the diffusion of creative agency. In order to holistically enrichen the study, I turned to different artists whose practices explore ideas of instability, transformation and authorship. Having these references allowed the work to evolve with greater richness and complexity. Zara Carpenters’ approach, which was further illuminated through our personal correspondence, offered insight into how vital it is to embrace incidents and accidents in Polaroid manipulation. The works of Sophie Calle and Lucas Samaras also shed light on critical thinking in regards of photographic authorship and control. Rather than an agent of preservation, this project considers photography as a mutable, process-oriented medium. Authorship becomes distributed amongst artist, material, time and the audience, resulting a dialogue between change and intention, which ultimately gives meaning to the project.