PETA TRANQUILLE 

NOESIS was held at Kindred Cameras, 454 Docklands Drive, Docklands.

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Noesis takes its title from the philosophical term for intellectual knowing — understanding that exists independently of sensory perception. The exhibition is grounded in the artist’s lived experience of aphantasia, where mental imagery is absent. When memory is accessed through photographs, what persists most clearly are objects rather than scenes; however, narrative remains central, formed through reasoning, association, and contextual understanding rather than visual replay.

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In the absence of mental imagery, memory is supported through logic, structure, and the development of personal formulas that assist in retaining and organising information. Rather than representing memory as an internal image, the works draw on the language of puzzles, cubes, squares, and systems — forms that rely on rules, relationships, and resolution. Like narrative itself, these systems are constructed over time, assembled from parts rather than revealed as a whole.

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Grids, modular units, and repeated elements recur throughout the exhibition, reflecting how memory is held in fragments, reordered, and, sometimes, misaligned. Objects recalled from photographs act as anchors within these systems, providing fixed points around which narrative can be inferred, structured, and sustained, even when visual continuity is absent.

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At its core, Noesis proposes memory as an active, constructed process rather than a stable image. It suggests that understanding can be systematic, narrative-driven, and reasoned; that formulas can support recall where imagery cannot and that knowing does not depend on seeing.​​​​