Mr Jizolark’s concrete data developed, after a year of living in a beach shack, with an island community, in the Seto Sea of Japan, in 2016. Conspicuously present in this work is the human absence. We can appreciate the poetic narrative, documented in the futile process, of ‘collecting’ castoffs and found in the foreign repositioned constructs. The opportunity to collate object, image and cultural artefact – found on my daily tramps, reflects a composite history that is both private and public.
The benefits of seclusion have given me insight into the processes of letting go, something antithetical to the notion of collection, with its emphasis on accumulation and holding onto rather than surrendering. Mr Jizolark considers objects, and reclaims them, but remains free of any attachment to them. Left only with the impression, the action of being present, observing and contemplating these objects, makes them remarkable.
As a material anthropologist there is a preference for the forgotten, the broken and the used. A powerful tendency to search for materials marked by layers of lost time. As I set about investigating rich consumer relics, I also consider the Japanese notion of ‘mono no aware’. The object is valued for its rich simplicity, combined with a feeling of empathy, while paradoxically seeing it as ultimately ungraspable.