‘KOPFKINO: Reaching for Cold Hands’
Sitting at the intersection of painting and cinema, this series develops auto-fictional procedures that engage with postmodern identity and alterity. Obegi works with visual language as a means of evoking emotion and suggesting narrative, while preserving a deliberate openness to interpretation.
The works draw on collected video fragments assembled over several months, attending to recurrences of light, colour, texture, and movement rather than fixed narrative arcs. Recurring figures provide a structural frame, but the process remained responsive and intuitive, absorbing spontaneous shifts as they arose.
The resulting paintings depict interior scenes and intimate close-ups, frequently incorporating subtitles to foreground their cinematic origins. Each image functions as a partial disclosure, offering a fragment of a story that is never fully resolved. Through non-linear sequencing and the withholding of resolution, Obegi invites the viewer to participate in constructing meaning from the material.
