Winter Hendes (°1963, Melbourne, Australia) makes photos, drawings, films and conceptual artworks. By rejecting an objective truth and global cultural narratives, Hendes absorbs the tradition of remembrance art into daily practice. This personal follow-up and revival of a past tradition is important as an act of meditation.
His collected, altered and own photos are being confronted as aesthetically resilient, thematically interrelated material for memory and projection. The possible seems true and the truth exists, but it has many faces, as Hanna Arendt cites from Franz Kafka. By contesting the division between the realm of memory and the realm of experience, he tries to create works in which the actual event still has to take place or just has ended: moments evocative of atmosphere and suspense that are not part of a narrative thread. The drama unfolds elsewhere while the build-up of tension is frozen to become the memory of an event that will never take place.
His work urge us to renegotiate photography as being part of a reactive or – at times – autistic medium, commenting on oppressing themes in our contemporary society. By putting the viewer on the wrong track, he creates work through labour-intensive processes which can be seen explicitly as a personal exorcism ritual. They are inspired by a nineteenth-century tradition of works, in which an ideal of ‘Fulfilled Absence’ was seen as the pinnacle.
His works are given improper functions: significations are inversed and form and content merge. Shapes are dissociated from their original meaning, by which the system in which they normally function is exposed. Initially unambiguous meanings are shattered and disseminate endlessly. By referencing romanticism, grand-guignolesque black humour and symbolism, he creates with daily, recognizable elements, an unprecedented situation in which the viewer is confronted with the conditioning of his own perception and has to reconsider his biased position.
His works are often classified as part of the new romantic movement because of the desire for the local in the unfolding globalized world. However, this reference is not intentional, as this kind of art is part of the collective memory.
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