The rule of superposition in geology determines the age of fossils by placing younger sedimentary layers on top of older ones. Lucija Rosc applies this concept to her work, creating a series that forms a family album combining photographs of random objects with artistic interventions. In her artistic journey, Rosc explores vivid compositions in conjunction with family photos from her early childhood, revealing the intimate side of her art. Influenced by her grandparents' habit of collecting seemingly useless everyday objects, she incorporates materials reminiscent of her childhood into her compositions. Marbles, brushes, toys, and ropes become autonomous subjects in well-lit constructions, reminiscent of advertising photography. The series "Superpositions" delves into the concepts of memory and the creation of fictional narratives. The video game “Udén" seamlessly incorporates Rosc's childhood setting, interweaving photographs and objects as virtual coordinate points. This virtual world reflects the artist's subconscious, presenting new works as old memories and interrupting the serene space of the family field. Within the "Superpositions" series, Rosc's digital photographs, combined with analogue family photos, form a unique family album. Family memory is constructed collectively through the ritual of viewing photographs together, idealizing family bonds. By transforming childhood memories into visual images, Rosc stages naive and fleeting impressions. She questions the reliability of memory and the idealization of childhood while emphasizing that the present is always connected to the past. Rosc's work process and the spatial setting allude to child's play, combining everyday materials and prefabricated objects without excessive rationalization. Through the juxtaposition of photographs and actual objects, Rosc highlights the unreliability of memory and the staging of reality, drawing attention to the fact that the present is inseparable from the past.
Hana Čeferin
