This is an experimental book to consider the meaning and the shape of the Chinese characters Kanjis. I disjointed Kanjis and extracted the smallest elements, then placed them in a common scene to link them. These continuing scenes with Kanji elements enable you to think about the origins of these characters. Kanji characters are ideograms developed from hieroglyphics; the shapes and combinations of the elements have their own meaning. By placing the elements in a suitable situation, I aimed to visually explain the origin of Kanji.
Immersed in collector Brad Feuerhelm’s vernacular photo collection, artist Anouk Kruithof moved into a bungalow where she developed a niche relationship with the photos and transformed the image archive. She visualizes scenarios in which images, through the imaginary space of our conception, and parallel to digitization, leap across the tooth of time. The personal image relations, all but magically approached and released, offer new perspectives, to relate us, one-to-one with the image, to the present post-digital image economy in which our image memory moves. Furthermore, the technical angles give insight into the way we can process our image memory.
The five differently-processed image stories make this book a layered ‘Gesamt-sculpture’ that has a lot to say about the actual status of our image memory. The Bungalow is an ‘image wonderland’ in which a closed meeting represents the ‘bite’ of the leap.