Here She Is, There She Goes
In the polyptych, ‘Here She Is, There She Goes’, Lique questions the actual issue of identity by showing human life as a photo grid of same-scale squares, a format based on social media sites like Facebook and Instagram. All of the squares are sections from the daily photos from the LS diaries archives, not only showing the portrait, but also digital details in the form of colors, structures, and the inside and outside environments, reconstructing identity on a broad scale.
The first construction is the creation of the images as photographs, so the arrangement of the daily fragments into the grid constitutes a process of reconstruction. The present of each day becomes re-presented. The process of reconstructing these fragmentary moments into a chronological (and physical) grid structure is apparently dispassionate. Personal narrative is discarded in favour of the inscrutable aesthetic of the algorithm, a fundamentally ‘de-expressive’ process. Presented in a social media-like grid which atomizes identity, the essential self is exposed as a narrative imposed by the viewer from outside. At the same time, the viewer becomes aware of their own efforts towards attempting to manufacture an identity where none is proffered.