2012 | 30x20 cm. | Silver Gelatin Print On Glass

How can photography, a tool that is presumably incapable of depicting what is beyond the visible, that which lies not on the surface but beneath it, possibly be used to contribute to the formation of a new transcendent representative state, a hypothetical real, which exists beyond dualities such as visible or invisible?

This work, the appearance of which followed a period of research and discussion regarding the ontology of lens based images, aims to harvest an uncanny photographic metaphor regarding the burden of mortality and the unimaginable state of death.

Embracing visual codes that are innate to 19th century photography, a period in which the medium was highly associated with post-mortem rituals and acts of remembrance, this cycle intends to construct a visual purgatory, a representative third state that imposes life and death on top of each other.

These images, which are in fact indexical traces left onto the silver treated glass surface, not only aim to emulate an illusionary replica of reality by means of their very materiality, but are also meant to stimulate the viewer to question the very nature of that illusion by the same token.

Mortals stare right into the eyes of the observer, blinking only to vaguely indicate the inherent nature of the act of photography which produces death whilst trying to preserve life.