No. 26. By inserting myself into my mother's pictorial narative, found in her photo album, her stories became ours. Through digital photomontages, I juxtaposed old photographs retrieved from the family archives of my mother in her 20s and 30s, to reconstruct a new story and build the bridge, where she is me and I am her. I restaged my mother's photographs in the same location she had been photographed, wearing the same clothes and micking the same poses and expressions to reconnect with her spirit. My reconnection with my late mother became of substitute for the paucity of memory through visual manipulation. Thus, studying and visually emulating my adoption of the role of mother to my younger sister after our mother's death, as well as an exploration of masquerading strategies in autobiographical acts.
No. 27. "In my attempt to make sense of my loss as a post-grief, after my mother passed away, I started looking for pieces of her in her house. I found many of her photographs and clothes, which have always been there, but which I had ignored over the years. Photographs present us, therefore, not just with the "thereness" of the object but its "having-been-there", thus having the ability to present a past, a present and future in a single image"--(Barthes, 1980, p.77). Like Barthes looking at the photo of his mother, we look at the person and see the trajectory of their life. The fact that no matter how alive they look, the photograph points to all of our mortalities. The essence of my mother that I identify in these photographs is, in fact, my essence, my constructions, my memories and fantasies of this person whom I met in only one capacity: namely, mother.