Memory Recall Pattern
When moments in life freeze as memories, they can mark the passing of time, a new era, for the better – or for the worse. As human beings, we do not bear memories; but rather create them by selecting, often subconsciously, what we wish to remember and what to forget, appropriating a selection of souvenirs from which to develop favourable stories. In his work, Thomas Dozol addresses and plays with archives of rich fragmented, memories of smells, feelings and emotions, all of which are in flux. Dozol manipulates the scenes in his photographs by overlaying them with graphics – as we each punctuate our own memories – with signs, impressions and handmade marks, erasing and highlighting details as we see fit. It was the marked significance of Dozol’s decision to relocate his studio from New York to Berlin that initiated his desire to celebrate and also preserve the distinction between ‘before’ and ‘after’. Thinking about those he would leave behind, Dozol concluded that those in his social sphere were not only his friends but also his peers – artists, curators, musicians and performers. He had shared reflections, ideas, projects and ambitions with them and he had recognised that he was bound by a sense of belonging to this artistic community that would never be recreated as such after he was gone. Using photography as his medium, Dozol began a process of memory making. He started documenting his friends and peers, inviting them to his studio with the excuse of a shoot, but with the purpose of sharing moments of friendship filled with conversations on life and art, laughter and silence. As architect to the scenes he depicted, Dozol was consciously making memories and aware that his subjects may never represent themselves as he had done so. It was intended that the project should last around three months, but instead it continued to develop for almost three years into a visual catalogue of nostalgia and love.