‘KOPFKINO: Reaching for Cold Hands’

Through this series, Obegi explores the boundaries between painting and cinema and how the two mediums can interact to tell stories by developing auto-fictional procedures that delve into the concepts of postmodern identity and alterity.
She is drawn to using visual language to express emotion and suggest narrative while allowing the artwork to remain open to interpretation. In this laboratory of the self, Obegi creates works that evoke a cinematic quality, inviting viewers to explore the potential stories that can be created from the visuals.

Inspired by the aesthetics of cinematic imagery, she aim to explore the potential stories that can be created from collected footage, focusing on the visual pleasure and what can be evoked by the atmosphere of images.

The paintings in this series depict a range of cinematic scenes, from interior scenes to intimate close-ups. While they are based on the visuals of films, often containing subtitles, they are also painted in a way that invites the viewer to explore the potential narratives that lie within the images.

For months, Obegi gathered video fragments. She had elements of a story in mind with recurring characters which served as a frame to incorporate spontaneous and intuitive moments. Following this process, she became attuned to her surroundings, and would welcome narrative changes based on nuances of light, colour, texture, and movement.
The result is a collection of observations that reflect glimpses of moments that could exist within a story while also hinting at a larger narrative that is never fully revealed. She aims to challenge conventional narrative structures and take viewers on a journey through non-linear editing techniques and to invite the viewer to immerse themselves in the visuals and construct their own stories from the material.

Her work does not seek to provide a resolution but rather to encourage viewers to experience the visuals and co-construct a narrative with the pieces.