Melanie Letore & Alja Terentjeva 24th April, 2014

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Melanie Letore

The selection of pictures, where did they come from?
The selection of pictures come from a greater body of work. These photographs have been taken over the past year, in various places: Glasgow, Cumbernauld, Geneva, Chamonix, Versailles, Saint-Quentin-en-Yvelines, and Venice. However, where the scenes come from does not inherently matter – what lies at the heart of this particular selection is the feeling of “elsewhere”, of restlessness. The pictures are quite tense because the reveal nothing: there is no narrative and no clear subject. (It’s quite interesting you should ask where they come from – as if that could help you decipher what they mean?)I guess I want the viewer to want more, to feel like there is so much more to see.

Why are they arranged or ordered in that way?
What is important in a photographic installation is rhythm: how the viewer sees the images (height, size, order, distances between images, etc). They are arranged in this way for this particular exhibition because I’ve always wanted to create a line of photographs with different formats (here 6×45 and 36×24). Whilst the height of the image remains the same, the length varies. This automatically creates unease and doesn’t “fit” perfectly. For me, putting these images on the wall was an exercise: which images are singular, which images might work well with other images, how do you guide the viewer’s attention?

What can you tell me about the texts and their arrangements?
The texts are requested love letters. I sent out a message to people who I thought might be interested in participating, asking them to write me a love letter. I offered to pay them for one hour’s work. They could write the letter to me, to the idea of me, to their memory of me, to an imaginary person… I wanted to see what would come out of such a request: how untrue would these be?

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Alja Terentjeva

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