Melusina’s Absences in Second Life

“Absence,” Melusina Parkin states in introducing her exhibition, Absences, at Nitroglobus Roof Gallery, “is a negative concept: it means that something should be there and it doesn’t. So, when we look at an empty place – a room, a seashore, a road or even a chair – we can’t avoid thinking of something or somebody who has been or will be there. That’s even more true when a world, including nature and landscape, is entirely made by humans, like Second Life.”

Absences is a set of twelve images on this theme, presented in Melusina’s familiar approach of offering a macro-like study, each scene a single point of focus – a beginning, not an entire story. Rather than the entire room, we are instead given an empty hanger on a hook, deserted chairs at a table, a glimpse of an empty couch facing windows without a landscape, the rumpled sheets on one side of the vacated bed, and so on. All suggest a story, of a presence lost but still felt; of  time when two were once one, but now only the one remains, the observer, the keeper of memories.

But are the absences we see permanent – the result of the ending of a relationship or the passing of someone close to us? Or are they temporary –  the absence felt when a lover is away for an extended period, or who has just departed for a time and with the promise of reunion in the future? Or are they the absence created by changing circumstances – the empty room symbolic of possessions packed and gone, in transit to a new home while we remain, recalling all that has happened in the now deserted spaces – and the promise of new beginnings when next we see those possessions in their new home?

“I’m not completely aware of these thoughts when I take a photograph,” Melusina notes. “But when a detail, a colour shade, a light catches my eye and pushes me to freeze it in a photo, I think it happens ’cause they suggest me an atmosphere that any word, any human presence could better express.”

And here is where the power of these pieces resides. Because they are each so focused, so macro in content, there is no sense  that we are being particularly directed to view any of them one way or another. Instead, each is but an opening word or line, awaiting its story to be told.

In this, we become not so much observers of each image, but playwrights, sharing each canvas with Melusina, writing stories of ending and beginnings unique to each of us, filling the page she offers us through each image. Because, and as she notes, the blank page holds so much more power than the sheet upon which words have already been written. And so these images, as evocative as they are, are made even more meaningful to each of us through our involvement in the narratives that flow from them.

SLurl Details

• Nitroglobus Roof Gallery (Sunshine Homestead, rated: Moderate)