It goes without a doubt that memory is not permanent. It is unstable and delicate, subject to deformity, especially when it comes to distant events. It does not work like a recording tool, and is subject to construction or reconstruction: an interpretation that imposes ever newer elements on it over time. There are many sources and reasons for these “impurities” – we fill in the gaps, rationalize behaviors, superimpose colorful emotions on them, glorifying or demonizing their meaning.

Tomasz Wysocki’s project is a series of painterly and detailed sequences of photographs and objects: probable constructs that might have happened, representing an interpretation of remembered events, their combination or projection. The author does not hide, and even strongly emphasizes the elements of manipulation, enriching the work with details that are metaphorical in his eyes, ones that are not part of his memories but merely represent emotions and evoke feelings. Each part of the project represents a kind of encounter, a story about a relationship, and each constitutes a reconstruction of situations and settings whose form seems almost surreal.

Memory is not the End is an artistic meditation on the importance of introspection, its function in modeling self-perception, which in turn influences the way we interact with reality. Psychology and psychotherapy are well aware of the notion of false memories. However, false memories are not considered negative. They intervene and often help when actual memories bear traumatizing overtones or when we simply miss them. The two blend together unnoticed, subject to reinterpretation. Paradoxically, false memories are a valuable part of the human experience. When we subject this process to analysis, it exhibits creativity, intelligence, the need to solve problems, interpret events and share them with others.