Familiarity is strange. It comes so slowly and fades suddenly. Between these two states there is a catalyzer: absence. We can feel its void upon departure. An invisible warmth leaves
as if it was the only thing that was in the way of the blinding brightness of reality.
This thread of familiarity hides itself in people, places and objects that bring us together.
We ever so slowly are transformed by it. And it is by this mark that we can recognize the face of
comfort in those who we seek a connection to.
In this series, Shema Semsar follows a path of familiarity to arrive at people with
different backgrounds. She presents an object that acts as a bridge between various stories
happening at a variety of locations within her reach.
The combination of her choices with what her subjects had in mind, point to possibilities
of relationships that otherwise never would have been. It’s about the formed connections
between the photographer and her discoveries and the meaning that is waiting to be found by
curious viewers.
as if it was the only thing that was in the way of the blinding brightness of reality.
This thread of familiarity hides itself in people, places and objects that bring us together.
We ever so slowly are transformed by it. And it is by this mark that we can recognize the face of
comfort in those who we seek a connection to.
In this series, Shema Semsar follows a path of familiarity to arrive at people with
different backgrounds. She presents an object that acts as a bridge between various stories
happening at a variety of locations within her reach.
The combination of her choices with what her subjects had in mind, point to possibilities
of relationships that otherwise never would have been. It’s about the formed connections
between the photographer and her discoveries and the meaning that is waiting to be found by
curious viewers.
It doesn’t matter what! Anything! Sheema tries to break through the invisible walls of the prison! It is a highly sensitive, shy and yet brave of an artistic soul who steps out of the isolation, forced by immigration.
Highly sensitive chair is like those imaginary friends of an autistic child who contact people through her dolls or imaginary friend. When the walls are too high to ‘connect’ on a daily basis, Sheema builds a bridge, a highly sensitive one; Which gives people the feeling that they will be heard. The photos, like a family Album, capture this trusted encounter. Sheema is there to listen to their stories and cross the bridge.
Highly sensitive chair is like those imaginary friends of an autistic child who contact people through her dolls or imaginary friend. When the walls are too high to ‘connect’ on a daily basis, Sheema builds a bridge, a highly sensitive one; Which gives people the feeling that they will be heard. The photos, like a family Album, capture this trusted encounter. Sheema is there to listen to their stories and cross the bridge.
I remember She-ma with the ancient red chair on her back, walking through the city. Stopping people and asking them to pause and sit in a place that has special memories for them.
She-ma has made fantastic photos of a woman in waters, with the red chair. I place that holds special memorials for her. It is a glorious photo as she reaches her hand skyward.
Another beautiful photo shows a woman arching back, her radiant face skyward to the warm glowing sun. With the red chair, she remembers this place and a time past.
A woman sits in a garden, in the chair, looking happily at new grow on a plant or young tree she has tenderly nourished. You can see this is a place she loves to be.
The magic Red Chair allows these people to savour and recall memories in these places that have special significance for them. The light and the composition of Shema’s photographs brings us into their lives.
Where do we most use a chair? In our homes – a place to sit and rest, read, eat, talk to other sitters and work. Theatres, restaurants and libraries have chairs too. This is where we expect and need them. Places where we are not expected to stay long, have no chairs.
But when we leave home, they stay behind. As we travel through our day – through many landscapes, rarely stopping to contemplate them. In a hurry, a rush, to get somewhere. Not to stop and get to know a place merely traveled through.
She-ma has imagined taking a chair with us. No ordinary chair, but a Red chair. Red is the colour of blood. The colour of the Red Cross. A colour that gets notice. Red can be life and death. Maybe the chair is symbolic? A metaphor.
She-ma has made fantastic photos of a woman in waters, with the red chair. I place that holds special memorials for her. It is a glorious photo as she reaches her hand skyward.
Another beautiful photo shows a woman arching back, her radiant face skyward to the warm glowing sun. With the red chair, she remembers this place and a time past.
A woman sits in a garden, in the chair, looking happily at new grow on a plant or young tree she has tenderly nourished. You can see this is a place she loves to be.
The magic Red Chair allows these people to savour and recall memories in these places that have special significance for them. The light and the composition of Shema’s photographs brings us into their lives.
Where do we most use a chair? In our homes – a place to sit and rest, read, eat, talk to other sitters and work. Theatres, restaurants and libraries have chairs too. This is where we expect and need them. Places where we are not expected to stay long, have no chairs.
But when we leave home, they stay behind. As we travel through our day – through many landscapes, rarely stopping to contemplate them. In a hurry, a rush, to get somewhere. Not to stop and get to know a place merely traveled through.
She-ma has imagined taking a chair with us. No ordinary chair, but a Red chair. Red is the colour of blood. The colour of the Red Cross. A colour that gets notice. Red can be life and death. Maybe the chair is symbolic? A metaphor.