"Echoes of Sight I", Digital collage. (from the series Disintegrating Archives), 2025
Processed digital photograph, photographic collage, 40 × 30 cm.
"Echoes of Sight I", Digital collage. (from the series Disintegrating Archives), 2025
Processed digital photograph, photographic collage, 40 × 30 cm.
"Echoes of Sight I"
Digital collage. (from the series Disintegrating Archives), 2025
Processed digital photograph, photographic collage, 40 × 30 cm.
"Echoes of Sight I", Digital collage. (from the series Disintegrating Archives), 2025
Processed digital photograph, photographic collage, 40 × 30 cm.
"Echoes of Sight I", Digital collage. (from the series Disintegrating Archives), 2025
Processed digital photograph, photographic collage, 40 × 30 cm.
"Echoes of Sight I"
Digital collage. (from the series Disintegrating Archives), 2025
Processed digital photograph, photographic collage, 40 × 30 cm.
"Echoes of Sight I"
Digital collage. (from the series Disintegrating Archives), 2025
Processed digital photograph, photographic collage, 40 × 30 cm.
These temporal and spatial perspectives coexist simultaneously, compressing past and present, inside and outside, into a single visual moment.
These temporal and spatial perspectives coexist simultaneously, compressing past and present, inside and outside, into a single visual moment.
"…Here the body becomes a surface of bearing, a living canvas where the memory of the other becomes presence…"
These temporal and spatial perspectives coexist simultaneously, compressing past and present, inside and outside, into a single visual moment.
This work presents a processed photograph of a small abandoned house, nearly eighty years old, standing alone in the middle of a field. Into this image I combined two different photographs of the same house taken at different moments in time: one showing the house from the outside, the other revealing its interior. These temporal and spatial perspectives coexist simultaneously, compressing past and present, inside and outside, into a single visual moment.
Through an act of editing that resembles turning a garment inside out, I exposed the intimate interior of the house to the open landscape. The private realm unfolds into the public sphere, transforming walls into vessels of memory. From within them emerges a new layer of remembrance: contemporary cave paintings, anonymous engravings left by temporary dwellers, traces of presence inscribed onto the fabric of disappearance.
In this self-portrait I mark my face with the birthmark of a relative. It is an act of bearing of memory, of difference, and of pain. By taking this mark onto my own body I perform a gesture of transference, almost like a living print, that blurs the boundaries between the personal and the familial, between my body and the body of another.
The title Family Imprint reflects this act: taking the trace of another onto myself, carrying a physical and emotional imprint as if it were my own. The gaze is always drawn to what deviates from the norm, yet at the same time resists staring directly. I am not disguising myself but borrowing the sign, making it visible.
Here the body becomes a surface of bearing, a living canvas where the memory of the other becomes presence. A mark born on another body is inscribed onto mine as an act of closeness and resonance, both homage and disruption. The work raises questions of identity: what counts as a body worthy of being seen, who is permitted to carry a mark on the face, and what does it mean for one’s own face to become the face of someone else.