A disjunction between the imagined and the real is a characteristic of all human activities. The work shown here focuses on how our lived experience moves away into representation, that the commodification of experience is susceptible to new truths and poetic shifts.
The postcard or souvenir collapses distance into proximity, therefore contracting the world in order to expand the personal. The re-presentation of the postcard questions the reliability of the personal and looks for further readings of what is material and what is imagined. The work seeks to express the existential experience felt by the individual that both expands the sense of the self whilst simultaneously erasing it.
Works look to landscape as rites of passage. Whether its the onscreen language of cinema frozen to proclaim intimacy, or the difficult articulations of a love note found on the floor, Mitchell disfigures surface and brings to the fore a common aesthetic tendency.
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