MEMORY FRAGMENTATION, a kind of game or a metaphor

This is a set of 9 small pieces (screens 30 x 24 cm) which has the particularity of being simultaneously individual entities and part of a whole .
Together they form an image of 90 x 72 cm, corresponding to the image that would be of particular memory. Individually, each small screen a fragment of that memory.
Like the way it handles the preservation or disintegration of our memory, sometimes we have more pieces, sometimes less , to reconstitute a fact or a specific past experience. We could not have the " key piece " , or even one or another piece of minor importance, but always absences that prevent us from accessing the entirety of the experience.
In the case of this paint at the time of the small screens is provided, donated or acquired give shall initiate the " memory fragmentation " process , the principle of progressive loss of the whole of this image .
It is interesting to think of the random fate of each fragment: the wall of someone's house, the art gallery, or just lost in space where I paint. An unknown. But surely we are losing the " memory " of the inaugural picture. The meeting with one or some of the parts may possibly refer to a similar work of the archaeologist, the historian ou the psychoanalyst, for reaching the overall sense from the fragments encountered .
This painting (in line with what I have been doing) , taken as a whole, has several entries with the kind of mental dialogue that occurs in the everyday life, of which we have more or less consciousness: " I want you " " do you remember the first time we went out together ? " , " this is true " , " okay , we'll see ," the interior dialogues with wich we try to organize our experience, mainly the relational one. But what is baffling is that such thoughts and forms of expression, being there, are not fully visible, yet few are taken by what remains of them, others by intuition, the others have only traces are left. Others are interspersed. Some of the entries were disappearing over the course of painting and neither do I remember them. All this is a kind of remember that our claim of having preserved the full memory of our experience is just that, a pretense or another form of illusion.
The " I want you " , for example, appears " want " ( screen 1 ) " you" ( screen 2 ) . Taken together reading is univocal and linear, separately (which is much more interesting) requires us to complete and make sense : If I have only the Screen1, " want " what or whom ? If I display only the 2 in my possession the " you" is even more vague and enigmatic , being much: I love you , hate you , want you , you are interesting, warm, transparent invariably irrelevant , important seed, lieutenant, sad or happy , etc. . etc. . ... . It's up to me to decide , maybe something different each time I look at the picture.
Sometimes there are more fragments in the possession of others, so we need humility to ask them to see, like pieces of a puzzle of which we only have a small part .
But each fragment can become individually the beginning of a new direction, possibility or a new sensibility : an inspiring image to someone who has hung on the wall of the house (which works by itself , even separate from the others) , a perspective of business for the gallery owner that is wanting to sell it, or a new inspiring motif to me to realize a new work. Marcos Marinheiro, 2014