K.K. DePaul


Family Circle

In 1929, my grandfather was hanged for murder. It was a taboo subject in our family, and out of respect for my grandmother, nobody ever spoke of it. We believed that because my grandfather was convicted on circumstantial evidence…he had been convicted wrongly. After my grandmother’s death, I came into possession of a box that she left for me. Contained within were all my grandfather’s personal effects during his year on death row… newspapers, magazine articles about the trial, letters from lawyers, family members, and friends. It became quite clear…as I read between the lines…that he was guilty… that my grandmother knew it, and that after her death, she wanted me to know it, too. However, my work is not a study of ‘guilt’ and ‘innocence’, or even a document of the tragic history of my family. My work is about Women and Pretending. Pretending often reflects a wish, however misguided, to protect others and ensure the viability of the self as well as our relationships. Each of the women in my narrative, including the the murder victim, has been deeply affected by the legacy of secret-keeping connected to this man’s actions. I am a storyteller I have always been fascinated with multiple interpretations…double exposures…and the ambiguities that arise depending on which character is telling the story. My process begins with a collection of elements: memory…imagery…writing…objects. As I move the elements around, a visual narrative begins to take shape, signaling a new understanding of parallel stories between generations. I see the layering of paper and photographs as being similar to the way our mind organizes memory…at different depths…one over another…constantly shifting. Sometimes I feel as though I am trying to solve a puzzle with multiple solutions. In the layering and relayering…combining and recombining…telling and retelling, I finally understand that I am no longer telling the stories contained in the box. I am telling mine.


The Final Cut, 2004


Plot Synopsis: The story is set in a world where implanted microchips can record all moments of an individual’s life. The chips are removed upon death so the images can be edited into something of a highlight reel for loved ones who want to remember the deceased. Caviezel portrays the leader of the organization that opposes this technology’s development.

The Final Cut is a film written and directed by Omar Naim, released in 2004. The cast includes Robin Williams, James Caviezel, Mira Sorvino and Genevieve Buechner. It was produced by the Canadian production company, Lions Gate Films. The film featured original music by Brian Tyler. The story takes place in an alternate reality in which every moment of people’s lives are recorded by “Zoe Implants”, so that they may be viewed by loved ones after one’s death. The plot centers on Alan Hakman (Williams), a cutter, whose job it is to edit the Zoe footage into a feature-film length piece, called a “Rememory”.

The Final Cut is about subjectivity, memory and history; posing the question, “If history is what is written and remembered, then what happens when memories are edited and rewritten?” The movie also brings up the problem of infringement of privacy, and can be seen as mirroring the loss of privacy in today’s society. The film won the award for best screenplay at the Deauville Film Festival and was nominated for best film at the Catalonian International Film Festival and Berlin International Film Festival.

Michał Giedrojć


But I am



The series ”Dreams” by Michał Giedrojć show us moments balancing on the border of desires and reality. The artist creates his own world, he do what he want with landscapes, people and props. Photographer gives us an opportunity to chose what to believe – if it’s a reality or only imagination.

These are black & white photos of people with their individual characters and strange looks. They try to say something with their eyes, by showing signs and sending signals – which is very intriguing. I find this kind of photography very unique, special and extremely interesting.