After social interactions, we retreat to our home, usually a particular room, to reconstruct ourselves before going out into the world again. When the pandemic and a new life at home set in, sitting by a window in introspective reverie took on new meaning.
As is my wont in the face of challenging events, I trained an old instant camera with expired film on myself when I sat near a window, an open doorway, and stood close to surface contours where direct sunlight flooded my body. I found comfort in light in these passageways and surrounding landscape. Intrigued by my ghostly embodiments of architectural details I discovered a sense of what Bachelard described as “…an expansion of being that life and caution arrests, but which starts again when we are alone.” The embodiment of home could have been any room I’ve inhabited since childhood, including snow forts, blanket-tent hideouts, and garden plots for the seeds of my watermelon I created as a child. The room housed the relationships and words spoken in all the rooms I’ve lived in. The closets and corner contours of the walls housed memory itself.
The room provides a sense of belonging that structures existential being and identity, mediating interiority and exteriority, separateness and oneness with the world. The room’s intimacy invites awareness of the immensity of inner life, and imagination. The room is deeply our room - in us.
"Cindy Konits’ images are of the skin as much as of the eye, of imagination and fantasy as much as the viewer’s sense of reality...These images have an echo and they are heard and touched as much as perceived by the eye. The incapacity of vision activates the other senses; we do not “see” the world, we sense it through our sense of existence. We cannot see the world as we are inside it."
(Juhani Pallasmaa, "TORSOS IN SPACE, LIGHT AND TIME - the Polaroid Images of Cindy Konits)
"With her photographs, Cindy Konits marks a new direction in photography, which, in the wake of philosophers of life and existentialists, could be called a kind of existential documentary. The subject of the photographs is all of us to whom the photographer forms a bridge to open the time planes of past-present-future."
(Borbala Jasz, art historian and philosopher of art, researcher, assistant professor Budapest University of Technology and Economics)
All Images: Archival Pigment Prints, 15.5"x20"
Cindy Konits 2022