Fotoeins Fotografie

location bifurcation, place vs. home

Posts by HL fotoeins

herakut, Museum of Urban and Contemporary Art, MUCA, Munich, Muenchen, Bayern, Bavaria, Germany, Deutschland, fotoeins.com

Herakut: big wall art around Germany

Above/featured: “At times the only thing alive about me were those demons.” MUCA Munich – 31 May 2018 (X70).

One of my favourite artists is Herakut, a German duo whose street murals have appeared in Europe and around the world since 2004. Hera (Jasmin Siddiqui) and Akut (Falk Lehmann) use walls and big spaces for their big art with a signature look that includes expressive faces and big eyes, lots of photo-like details, and sharp typography. Their work explores issues such as physical and emotional isolation, maternal relationships, gender and racial equality, and all the things we think and feel lurking inside. But I think their compositions also include long notes and pauses which allow and incorporate vivid fantasy and playful whimsy.

Examples shown below include Wittenberg 2016, Heidelberg 2017, Berlin 2017, Munich 2018, Berlin 2021, Frankfurt am Main 2024.

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This is the place where I died again

The mind’s eye slowly emerges, hanging over my shoulder for hours after the official declaration at 850pm.

With the nurses’ gentle request, I comply without a word, and I sign the paperwork.

I walk back into the hospital room where she lies. The only sounds are from her neighbour, another patient in another bed, their laboured breathing as sign of life.

I gaze out the window to the nighttime lights of the city. From a great height, I cannot see individuals, but I see them in motion on the streets, and alive in the lights of their houses.

At her bedside, I hold her hand, cool to the touch. I place my other hand on her forehead: there’s a little warmth as I smooth her skin with my thumb. Her eyes are closed, but there’s no breath or acknowledgement. When I close my eyes, the dream doesn’t go away, and ashes begin to fall. I lean down next to her ear, and whisper quiet words at the close.

I palm her cheek one final time, as I’ve done over the last days and weeks.

At the doorway, I turn around and look at her still body one last time. I will not see my mother again until the funeral.

I thank the nurses, and make my way out of the Palliative Care Unit. To the elevators. To the lobby. Out into the cold night. Inside the car, my hands are locked frozen onto the wheel, and I begin to shake with tremors. I let the jolt and shock pass through, and with the recall of past experience, I glide over giant waves of grief.

For the first time, I enter the family house without either parent. It’s surreal and unsettling.

From 1976, this house has been a busy noisy compact home for us; I remember us as kids racing to the top of the stairs to claim our very own bedroom.

A family of us: once at 4, now at 2.

Alone now, the walls echo with sounds from the floors, wood frame, and the pipes. I ascend the stairs in the dark, navigating the upper curve from memory. I shuffle to the parents’ bedroom. With a flick of the switch, the unmade bed is in the same final state, when the paramedics moved her into the waiting ambulance earlier that day.

In less than 12 hours from house to hospital, she slipped away, peacefully and quietly into the aether.

With my parents’ passing, I fulfilled my promise to them. There’d been new beginnings, layered with new understanding and sprinkles of forgiveness along the way. I was granted an extra-time bonus in years: a son to his parents, and a parent for his Mom and Dad.

And it is here, I died twice, in the city of Vancouver.

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Singular moments: family snapshots over 44 years

In February, a short interval mid-month included Chinese New Year’s Day (12th), Valentine’s Day (14th), and Canada Family Day (15th). Surrounding this auspicious interval on both sides were: my mother succumbing to cancer (3rd), and her funeral and burial (17th). She missed her 90th birthday by a mere 6 weeks.

In the weeks following that massive tremor, a heavy cloak of sadness clings on, interrupted occasionally by aftershocks in snippets of truth containing memory and regret. I get to relive the entire process of a parent’s death all over again; with Dad in 2014 and Mom in 2021, the double is anguish with complete finality.

For a long time, I’ve often questioned how much value there was in a family unit, given our inability to verbalize or communicate forms of positive emotional feedback. This post is a short examination of that question in a selection of images. I have to give Mom and Dad credit: they loved pictures of the family, in clear physical evidence by the scatter of photobooks and piles throughout the house. Few will ask whether a photograph at any given time can effectively capture the idea or mood of the moment. The true irony is the future value of that photograph as a means of time travel, back and forth, over and through giant waves of grief.

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Seattle: Sand Point Sculptures (A Sound Garden)

Above/featured: On the Art Walk trail.

In northeast Seattle, the NOAA Art Walk is contained fully within the campus of the National Oceanic and Atmospheric Administration Western Regional Center (NOAA WRC), located at Sand Point next to Magnuson Park. Initially, I’d intended only to visit one sculpture from which a “fairly successful” local band got its name. I explored the entirety of the Art Walk on a breezy sunny early-spring morning for an easy peaceful walk on a trail hugging Lake Washington’s shoreline. Over a two- to three-hour period, I encountered only a handful of other visitors, some of whom may have been NOAA staff.


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My Prague: OlÅ¡any cemetery, search for Kafka & Palach

Above/featured: A quiet leafy avenue in Prague’s OlÅ¡any Cemetery.

I can’t spend all this time in the Czech capital city, and leave without paying any respects to two 20th-century personalities of Prague. Franz Kafka was an early 20th-century German-Czech writer (e.g., 1912 Die Verwandlung/Metamorphosis), whose writings became known to the world posthumously, thanks to friend and fellow writer Max Brod. In the 1960s, Jan Palach was an important historical figure of opposition who died in protest against the Communist regime.

I’m in the underground metro, heading east from the city centre towards Vinohrady and beyond to OlÅ¡any. The sun’s out on a crisp mid-autumn day, and while deciduous trees are left wanting for leaves, the latter have piled like carpets of colour on the cemetery grounds. I’m looking for the graves of Palach and Kafka who are buried in OlÅ¡anské hÅ™bitovy (OlÅ¡any Cemetery) and Nový židovský hÅ™bitov (New Jewish Cemetery), respectively.


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