This series, ‘A Time for Sorrow’, is part of Mahr’s tribute to her mother: “My mother’s memory remains in myriad things that surround me – whether in some drawing pins I happen to be using or a hundred year old tree I am passing by. Regardless of their scale, in reality, all these things are of equal significance when lined up in my mind”. Mahr’s dreamlike imbalance of scale is visible here with an apparently giant, glistening angel’s wing tied with a ribbon to a ‘trompe l’oeil’ nail in the tree. This offers both the uncertainty of memory and its fiction, and encourages imaginative response.
Mari Mahr (Chilean / Hungarian / British, born 1941)
Born in Chile to Hungarian parents, Mahr’s family returned to Hungary after World War II ended. She studied at the School of Journalism in Budapest and worked as a photojournalist in the 1960s. In 1972 she moved to London where she completed her studies at the Polytechnic of Central London and embarked on a different approach to photography. She consciously slowed her work down from the speed and immediacy of photojournalism by exploring the difficulty and subtlety of earlier photographic processes. Mahr’s photographs concern memory and she incorporates objects she has inherited and cherished. She constructs (rather than reconstructs) memory by re-associating these objects with places photographically.