Richard Ginns

Richard Ginns – Sea Change

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Nostalgia is a curious and dangerous thing. Its essential condition – memorialising past events, beautifying them into an idealised rendition of the original – is a kind of historical plastic surgery, and its prevalence in contemporary culture shows no sign of abating. At its best, in the realm of the hauntological, it can become a sharp, incisive exploration of half-remembered memories, in the process losing the pretence that nostalgia, unwittingly but unerringly, inflicts on its subject. At its worst, in the realm of Hipstamatic and the neo-Polaroid, it becomes a cosmetic conceit, a wistful yet phony affectation, positing the notion that things were better or more lovely ‘once upon a time’.

Richard Ginns’ Sea Change exists somewhere between these poles, although more at the Hipstamatic end of the continuum (the artwork features precisely this kind of imagery). Ginns acknowledges that his foray into “the memory of childhood visits to the seaside” is “completely personal”, and that truth presents a further difficulty emanating from nostalgia: in some ways it is so utterly personal that one can barely hope to engage without resorting to nostalgia of our own, making for a rather diffuse, even faintly solipsistic kind of empathy. This crystallises in Ginns’ hope that such imagery “produces a sensation of fondness and memory”; notwithstanding the fact that ‘memory’ isn’t a sensation, the kind of ‘fondness’ of which he speaks is, again, entirely personal, and he cannot rely on the fact that, merely by presenting the listener with ostensibly loaded material, we will instinctively relate to it and be drawn into his memories as though they were our own. Artistically, as anywhere else, nostalgia is indeed a curious and dangerous thing. Read more

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