Writing about my daily life and capturing it, is an approach that I perform by a work of fragmentation/ erosion of my self and then of reconstruction during the artistic creation of μnarratives, visual and textual artworks projected in video installations, thanks to the memories they arouse.
Indeed, my Life-Time Log (LTL) and Real-Time Log (RTL) diaries reflect the dispersion and the fragmentation of my self which, prey to forgetfulness and recollection, is disseminated in an autobiographical data stack that I have been gathering for years.
I, of course, perceive my self in fragments, but the creation of μnarratives, by juxtaposition of textual and visual data, is a way of mending parts of my identity jigsaw puzzle, implemented through a process of screening and selection, an update of my self when creating μnarratives through my Self-Creation System (SCS).
In this context, passage through me by an artistic implementation turns out to be less a personal identity quest than a self-knowledge quest, as an object of knowledge, Me-Self, and as a subject of knowledge, involved creator, I-self, in an art making process.
The issue of my art-based research is to create μnarratives from autobiographical fragments able to provide clues, to bind episodic memories recovery contexts and specifically those that define the self. To remember is, in this sense, essentially a test of the subjective feeling of the self, extracting knowledge and meanings from personal experiences.
Therefore, by making room for a temporality that could be defined as that of the in-between, both subjective (chronesthesia) and pure (Bergson), between synchronicities, remembrance-moments, and diachronicities effects extended in time, it [ temporality] evokes, a μnarrative tends to forge ties between perception, cognition and emotion through a mental journey to the center of my autobiographical memory.