A Tear for Someone Undeserving (2024)
17 x 21,5 cm
72 pages
Texts by Sunniva Hestenes
Design by Spine Studio
Swiss-bound softcover
Edition of 400
ISBN 978-82-93580-21-8
Sunniva Hestenes’ (b. 1999, Norway) "A Tear for Someone Undeserving" was prompted by the sudden death of the artist's mother and invites us on an introspective visual journey through a combination of new works and archival photos from Hestenes' childhood. With this photographic book, Hestenes explores their own intricate family relationships and emotional landscapes. Each image serves as a reminder of the journey towards acceptance in Hestenes' struggle with the complexity of grief. The pictures foretell the tragedy, document funeral rituals, and provide glimpses into a relationship that will forever remain stagnant.
At the heart of the narrative lies a series of archive photos, where the innocence in the child's gaze serves as a testament to the passage of time. Particularly noteworthy is a photograph of the child's mother, captured in a moment of vulnerable intoxication. The images encapsulate complex feelings of the heavy responsibility of being a caregiver for a challenged parent. In this context, the camera lens becomes a tool through which Hestenes navigates the intricacies of family dynamics.
A Tear for Someone Undeserving serves as a visual exploration of the complex web of relationships that make up family bonds and illustrates the symbolic resonance that images carry long after they were taken. Through Hestenes' subtle lens, an emotional terrain shaped by grief, complexity, and family tensions is visualised in a story marked by loss, substance abuse, and resilience.
The book is published by the Norwegian publisher Heavy Books.
A Tear for Someone Undeserving text:
The tram ride to the hospital was silent. My father had never been through anything like this before. I had only done it once.
As we entered the hospital, we were greeted by a man in a suit. It was the same man who had helped us plan the funeral. He spoke in a low and calm voice, but his body language suggested that he was just as uncomfortable with the situation. He asked if we were ready and sure about the decision we had made. I nodded but said nothing.
"I must inform you that those who prepared Gunnbjørg have done their very best. Unfortunately, she is still quite red and blue in some areas of her face," he said. My father and I exchanged somewhat bewildered glances but still said yes. After all, we had come this far, and it couldn't be that bad, right?
We were led down a staircase that ended at a small fountain. The room was warm and humid. To the right, there was a door that led into a chapel. He explained that this was where she was lying. When we entered the room, it felt as if I wasn’t really supposed to be there. The first thing I saw was the coffin lid leaning against the wall. The room smelled like a nursing home, and she lay in a white coffin positioned diagonally in the room. I felt panicked and scared when I caught sight of her. She was dressed in a white gown, and her hands were placed over her chest. Her nails were black. Her bangs had been brushed back, and her face was swollen, blue, and red. She would have hated the way she looked.
I had to sit down. It was as if she was pretending to sleep. I didn’t know whether I should vomit or cry. My father said nothing, just sighed and rubbed his forehead. I couldn’t look at her, and I didn’t know what to do with myself.
I had an analog camera in my bag. The only thing I could think about was whether I should photograph her. Was it even allowed? I asked my father. "I think you should do it for your own sake," he said.
After much hesitation, my father left the room so it was just me and my mother’s body. I sat down on the chair furthest away. I was scared she would open her eyes, move, prove that she was only pretending. I took one photo. The flash on the camera went off, and the moment was immortalized.
I felt like throwing up. I took a few steps closer and photographed her hands. That way, I didn’t have to look at her face. I tried to find another angle and walked to the other side of the coffin. Her face was significantly more deformed than I had seen earlier. Suddenly, I understood why the coffin was placed that way. I stood over her just long enough to break into tears. I hadn’t expected that, but I wasn’t prepared for her to look so battered. I couldn’t hold back my tears and had to sit down again. The only thought running through my mind was a saying: that a dead body often reflects the life it had lived.
I took six photos in total. When I left the room, visibly affected, I was met by my father and the man we had spoken to earlier. My father looked surprised. He wasn’t used to seeing me cry in front of others. I couldn’t say anything. I was too proud to let two grown men see me like that.
I moved a little further away, but I could still hear their conversation. "I have never seen anyone in this situation look like that. I understand if it’s a lot," said the man in the suit. My father tried to respond but struggled to find the words.
On the way home, we sat in silence again. I couldn’t get her face out of my mind. It was as if the person she had been in life no longer existed.