The phantom statute of the unsharp, its relationship to our memories, its intimate character and openness for interpretation is what attracts Anton Cotteleer in the blurry. After investigating the meaning of the blurry and the sharp within photography, he looked as a sculptor how the sharp and unsharp relate to sculpture. In this he developed a well-founded personal vision about ‘the blurry’ or the unsharp.
Anton Cotteleer analysed how analogue family photos from the 1970s and 1980s, from both personal and anonymous photo albums, could become blurred and how this lack of focus determines our perception of the images. He created new photographs through the act of enlarging and cutting. These new images brought forth mysterious, occasionally broken shapes that were unrelated to the intended subject of the original family photo. They triggered unexpected emotions and memories that paved the way for new interpretations. Based on these new images, he created tactile sculptures and installations that are characterized by blurriness. How do sharpness-unsharpness relate to the memory that takes shape through visual media such as family albums? What is the role of focus and blurring in sculpture versus photography? And what is the impact of this effect on our memories and emotions?
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