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In her work, Katja Hock explores  the relationship between ‘what is shown’ and ‘what might only be suggested’ while at the same time addressing the importance of historical memory to our present perception of our cultural and social context.
 
For numerous years Hock has been photographing and filming in historically relevant woodland areas, mainly in Italy, the UK and Germany. Having grown up on the edge of the border-woods between Holland and Germany Hock’s memories of her past experiences of the area have become subject to a lost world of innocence.
Walking through woodlands, returning to already photographed scenes, the work allows the viewer to linger, remain, and spend time creating a relationship between the photographs and their own imagination. The eye wanders between the scenes, acknowledging the re-appearance of shapes, but they are slightly different than when seen before, reminding of time passed. It is those moments in-between, those voids between perceived time, which cannot be shown, that form and change memories and constitute the reading of the images.  “For the important thing for the remembering author” as Benjamin remarks, “is not what he experienced, but the weaving of his memory, the Penelope work of recollection. Or should one call it, rather, a Penelope work of forgetting?”
 
Benjamin, W., “The Image of Proust” in Illuminations ed. Hannah Arendt, Fontana Press, London, 1992, pp.197-210, p.198.
 
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