Presence and reminiscence in the pop art of Jamie Lee

Abstract

The thesis is proposed that in Jamie Lee’s pop art, the work of art is equivalent to its typification, as a representation of the icon, as perception (present) and its inscription in our memory as contemplation (or reminiscence). Through a philosophical essay, three recent paintings by the artist are observed, taking as a framework Ferraris’ (1999) theory about the relationship between memory and imagination. The conclusions validate the initial thesis, since it is argued that, given that in their origin, perception (theorem) and contemplation (mnemoneuma) are carried out on the basis of a representation that is no different from that of memory, what we have, at the end of the day, is the temporization of a work typified as a sensitive presentation (Jamie Lee’s acrylics) and its inscription and retention as an intelligible presentation (the memories associated with the figure of Ziggy; the evocation of the image of the famous 01:43 m. from the Take On Me video; and the context of Outta Time as an icon film of pop cinema or the reminiscences of the film and the license plate of the vehicle that serves, underhandedly, as the title of the acrylic). The question of the “essence” of the “Latin American” in art remains to be rethought, and therefore the idiosyncratic notions of anthropological –if not geological- notions of the works, their styles and their imaginaries must be put to the test.