Cindy Morlion

In my work I like to walk the thin line between dreams and reality. I also like to explore the boundaries between different stages: the presence or absence of objects and persons. Leaving the comfort zone of my house, each object or situation I encounter on my daily journey can become the subject of my work. Mostly these situations and objects pass unnoticed and remain in a non-existing phase. But sometimes they trigger my curiosity and interest, become present and finally become subjects that are worth photographing.

My photographic images are not the result of a conscious screening of the world, but rather the result of an intuitive selection where coincidence functions as a very important guide. Even though the subjects in my work are the result of an unconscious choice, my way of working isn't. I very consciously choose this work method because by picking a random range of subjects I'm able to explore that thin line between dreams and reality in my work.

By emphasizing the incoherence of the subjects I can deconstruct the narrative structure of my images and enhance their suggestive power. My pieces aren't so much the visualization of a logically constructed narration but rather that of a vaguely, forgotten memory. In chasing this suggestiveness and vagueness, the works might evoke a certain feeling of alienation, absence or even solitude.

My journey into art reflects on the idea of our fading thoughts and the imperfection of our memory. By crystallizing the absence in a present, tactile print I invite the observer to connect to the evoked feeling.