Fondling images, hiding and revealing them, sometimes scratching, creasing or crushing them, they are brittle images, even so never fully grasped.
As in Byzantine culture, the defacement and disappearance of the images was not an act of defilement but a sign of devotion, a recirculation of the painted body in the body of the beholder.
The work has evolved through a study of gestures, the photographic gesture itself and the imprint process. Imprint is a very similar process to photography. Unlike the latter which creates a specular resemblance, the imprint needs contact and proximity.
The image becomes a matter of surfaces, its materiality a protection, gradually hiding and revealing it.
As in Byzantine culture, the defacement and disappearance of the images was not an act of defilement but a sign of devotion, a recirculation of the painted body in the body of the beholder.
The work has evolved through a study of gestures, the photographic gesture itself and the imprint process. Imprint is a very similar process to photography. Unlike the latter which creates a specular resemblance, the imprint needs contact and proximity.
The image becomes a matter of surfaces, its materiality a protection, gradually hiding and revealing it.
