Storytelling is the creation of energy. What a story does to the human imagination is like an act of God. Zero becoming one, darkness becoming light. Around an intentionally obscured event, kaleidoscopes of narrative form. We must know. Some make assumptions, others devote their lives to bridging the gap between theory and fact. This refraction of a moment is exploited by systems of power, to whom any type of ambiguity is an opportunity to further fracture reality and weaken the public’s morale. Agents of disinformation, perpetrators of ad hominem, provocateurs… They all skulk around these complicated landscapes of partial illumination, misdirecting and casting shadows.
There are many photographs of the moments surrounding the Kennedy Assassination. They are populated with bystanders who appear as blurry forms which cannot be clarified. They look like just motion and color. To us they could be anyone — until someone determines who they were and what they saw, further illuminating the prisms of perspective. All of time seems to condense in the blurred torsion of their bodies. They are an infinite Otherness. They are apparitions of the eternal. They are the same opaque faceless form as the stranger in the background of a family’s vacation photo. They might as well all be the same person. Interrogating their Otherness, searching for their perspective — their moment and what led them there — means everything.
“POWER AS PRISMS OF APOCRYPHA” is almost a self-portrait. To me, the exploration of the parapolitical scaffolding surrounding a moment in time feels like a solitary endeavor. The deception begins to feel personal. You are in a room full of ghosts. Your subjectivity blurring, you realize evil has won. You are left alone with implications too immense and horrifying to vocalize.
— Robert Voyvodic is a Toronto-based artist who constructs visual identities for the works of avant-garde musicians and parapolitical researchers.