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拍品专文
Acting on a permanent call to travel, coupled with an urge to discover other places, other people and other stories, in Two Girls Ayline Olukman compares her own representations against the common archetypes and clichés that are readily available in a diverse offering of glossy catalogues and guides she encounters.
She combines photographs she has captured with old pictures from the 1950's collected on her travels, and in doing so creates of her own world, "Full of Disuse." By using the medium of photography in her works she thus fuels her fascination with the notion of time and death.
Olukman's works are personal in the sense that they only capture scenes of which she knows the true meaning - they match to specific moments in her travels, linking them often to a song or music playing at that instant. She considers her life as one massive road trip, often feeling that she is playing the role in her own private movie. Heavily inspired by music and cult movies, Two Girls shows saturated colours and glamourous vintage scenes set within unlikely places heavily reminiscent of director David Lynch's films, the photography often quite neutral or even austere. However, her experiences in seeing, feeling and confronting these instances of time on her travels, allow her to understand the discrepancy between her dream world and the reality with which she is confronted.
She combines photographs she has captured with old pictures from the 1950's collected on her travels, and in doing so creates of her own world, "Full of Disuse." By using the medium of photography in her works she thus fuels her fascination with the notion of time and death.
Olukman's works are personal in the sense that they only capture scenes of which she knows the true meaning - they match to specific moments in her travels, linking them often to a song or music playing at that instant. She considers her life as one massive road trip, often feeling that she is playing the role in her own private movie. Heavily inspired by music and cult movies, Two Girls shows saturated colours and glamourous vintage scenes set within unlikely places heavily reminiscent of director David Lynch's films, the photography often quite neutral or even austere. However, her experiences in seeing, feeling and confronting these instances of time on her travels, allow her to understand the discrepancy between her dream world and the reality with which she is confronted.