Forensics of Imagination is an explorative practice, a research method for the understanding and interpretation of phenomena, encounters, and objects—and their probable and potential connections. It actively seeks to subvert master and dominant narratives by considering any trace a meaningful evidence of something. Forensics of Imagination aims to interrogate the production of meaning and truth.

To re-imagine a practice

What is it to understand one’s own unknowns, the limitations and potentialities of knowledge? In the practice of an artistic field such as cinema a lot remains tacit.

I’m working to create a theoretical framework and a language in which to understand how my own practice is operationalised, how it exists and constitutes itself in a particular way, thinking through making through thinking.What is the relationship between incredible and un-credible? Who determines the veracity of information? What constitutes the integrity of the image, of a character, of the betrayal of a relationship between the spectator and the filmmaker and his protagonist? 

My background is in broadcast journalism which constitutes itself more as crafts than arts. In my experience the news industry in particular is self-righteously opinionated about truth and fact and claims dominion over ‘reality’.

To me becoming critically aware of Ranciére’s construction of fiction holds an emancipatory potential. In this sense imagination is a form of protest.

“A fiction is not the invention of an imaginary world. Instead it is the construction of a framework within which subjects, things, and situations can be perceived as coexisting in a common world and events can be identified and linked in a way that makes sense. Fiction is at work whenever a sense of reality must be produced.”

— Jaques Ranciére (from Modern Times, 2017)

Top left: Orphaned evidence: the situation of the review produces a new aasted. Top right: Superimposed strata of narrative produce new propositions of meaning. Bottom left: Crime scene: the wind knocked over a tree / redneck with a chainsaw is about to contaminate it / a body was found in 1994. Bottom right: Referring to both a literal crime scene and the deep gaps between dominant narratives and the unreal micro-history we encounter, Deep Gaps is the working title of a true-crime project in development.