Hours, minutes, seconds.
Our memory is similarly ephemeral and its records uncertain, like pictures on the celluloid diapositive film projected after a long time on accidental screens. Over the years of our lives it gets eroded. Various covers put on it create a not entirely steady and clear image of non-memory.... In its highly transformed shape – transferred from photography, which serves the author as a carrier of memory, also impermanent – Alina Picazio’s painting is not only a record but also a pictorial metaphor of the phenomenon the Author calls non-memory. It is an attempt to represent through painting the sense of uncertainty and the capacity of the artistic language of painting, drawing, graphic arts and photography to record the erosion of our memory. Can a painting at all be a carrier of memoryOr can it just record its vanishing traces, freely interpreted, located and mediated. The Author strives to create an image of such a situation. She creates pictures of non-memory, memory undergoing the process of fragmenting, evaporation, erosion... The painting becomes a painting version of celluloid film, marked with afterimages, spectra, overexposures and particles of reflexes of our image memory. It is like Polaroid photography emulsion, which “develops” only after some time and reveals its secret. The most fascinating stage of its existence is this elusive moment of the appearance of the first “ghosts”, phantoms, undefined shapes, unclear outlines and misty spaces. - Artur Winiarski