This series of work is a reflection on the concept of memory and the usage of someone's image after his death.
Many people agree on the fact that as time passes the memory of those who are gone fade. Their faces, voices, smells, laughs, everything becomes blurry, even despite the advent of technology, which gave us voice recorders, cameras and videocameras. In this series, the phenomenon of fading memories is interpreted through pixelation. The degree of pixelation reflects the kind of bond that united the person to the artist. The more pixelated the picture appears, the weaker the relationship between the two people was, the less pixelated it is, the stronger the bond was. In order to give a wide range of examples different kinds of relationships are explored: father, friend, grand-father, best friend. The pixelation represents the human struggle to remember, as if the eyes were struggling to focus on the image.
The other challenge this series tackles is the matter of using someone's picture after his death and revealing intimate details of his life, without his consent. During their lifetime, people are entitled to rights regarding the use of their image, but when they die, especially if it is in tragic circumstances, their picture and story get media coverage. Being dead, they cannot act against it, although most would not want strangers and even friends to have access to all the unfiltered details of their life's story. In the media, there often lacks a great deal of humanity and respect, simply because the objective is profit. It is less about respect of one's dignity than money-driven sensationalism. However, more than being about respect, it often happens that the media publish each and every detail of an investigation and which in turn has dire consequences for the people involved. Freedom of press yes, but the press needs to become more of a human-oriented industry than a profit-based one to fulfill its real purpose of serving the people and giving them access to information.