Annotated Text:
Sahika Erkonan: Photography and the construction of the family and memory TEXT PDF
Notes:
Erkonan makes comments on how the family photograph is constructed by those deciding to make the image and the subjects, when ever families were able to make their own photographs it allowed for a construction of images manufacturing what family life was really like. When family images are shown there is a narrative that goes along side the photographs, which is a memory connected to these photographs, however dependent on the photograph the memory could be incorrect or misguided, manipulated by the photograph that shows the idealist family dynamic. The memories attached to photographs of the family could be a complete contradiction to what the photograph is showing, the ‘Kodak’ moment of smiling faces in front of a camera is no real representation of a family dynamic and in no way can show what is actually happening within a family. This may make the negative memories towards a families past even more so, as the images of smiling faces being not the case will make the unhappy feelings feel more significant. When looking at my own family photographs this is a very relevent idea, my own personal connection with the images differs due to my memories and connected emotions to what was happening at the time the photographs were made. These images for me, therefore, are more than a documentation of our growing up when we were children and young teenagers. They are more of an emotive flashback into the history of my family, each year, other things would happen in our relationship that is in no way indicated in the photographs.
Having a strong emotional connection to a photograph or a personal involvement with an image or the events surrounding the image can change the way in which one will see the memory connected to that photograph. Such as a break up or a death will change the smiling faces in the photograph to seem as if they were lies, where in actual fact at the time the subjects are happy, but now that they are not together/ not alive the subjects are no longer happy therefore the image appears to be a lie. This also may be relevant in my own family portraits; the images started being taken in 2007 when I was 10, Jack was 12, and Rowan was 14, we are all smiling in the portrait, and my emotive memory of this photograph is the same as the others, however when this photograph was made, our smiling faces would have been an accurate representation of our lives at the time, however my association with the photograph has now been grouped with the later images, potentially changing my memory of the event.
One singular event can change the way in which we see the family photographs, an argument with a sibling when you are adults can change the way in which you see a photograph of the sibling when you were babies, despite the argument not existing at the time of the photograph.
Learning the truth about a situation of about someone can change a photograph or its feeling and meaning, often children are unaware of events occurring within the family, but when they become adults they could learn of what was actually happening when those family images were taken and it could change the significants of the photographs.
I feel that there are issues raised in Sahika Erkonan’s Photography and the Construction of the Family and Memory, that are very relevant to my own family portraits, my own future work and what I will be thinking about. One of the things I found very interesting was the way in which memories influence photographs, and equally, photographs influence memories. I am aware that emotional connections effect a persons cognitive ability to recall events perfectly, and this is very relevant when looking at photographs and remembering past events that may have been difficult. In my family portraits, me and my brothers are seen yearly, smiling, with no physical contact. The photographs appear like any other family studio portrait, with the white backdrop, taking us completely out of any domestic context, completely bare and under lights, almost being forced to perform that happy family stereotype. When looking at the photographs it is impossible to say how I felt at the time, however, my memories of feeling lonely, different and isolated are what I take from them now. I am now aware of things that where happening between my other family members, that I was not a part of, which would be the reasons I was a spectator, separated from the rest of my siblings as they were the focus. These memories may have formed due to things since the photographs were taken. The last was made in 2012 when I was 15, Jack was 17 and Rowan was 19 and by this point, aspects of family life had become difficult. We then stopped having the photographs done, which was a big indicator to the formation of our relationships.
An Added aspect to the memory of the images are the years that Alex is featured. While he was not my brother, he was another brotherly figure in the house, who had a perpetual effect on the events that took place other those years. Even in the images it is clear to see my separation as the three of them stand together and I stand in front of them, my irrelevant addition is clear in these two photographs. Moreover, compared to the other images, I remember them being taken and how I felt. I remember the three boys standing on the backdrop in front of the camera ready for the photograph to be made, and my mum pushing me into the frame saying that it was a picture for all of us. I remember feeling embarrassed, uncomfortable and as if I was intruding their boys photograph.
I find it interested to look at our progression through these photographs, and my different connection to each one. The difference in connection with the first in comparison to those with Alex, and right down to the last photograph, before we stopped making family portraits. Each one is a small flashback to that year, with the events that took place in the gaps being the more vital part of the images. Sahika Erkonan has managed to contextualise these feelings I have towards the images, the way in which memories and photographs can be so mutually influential. I was curious as to how myself and my siblings with photograph together now and what our relationship dynamic will become.
REFERENCE:
Erkonan, S. (2016). Photography and the Construction of Family and Memory. Bremen: Edition Lumiere.
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