Scraped photographs from my archive and family album reconstructed onto pictures in a found family album.


A number of professional photographer would say that if they want to remember something they are about to do, they will not bring the camera with them: for something which remains in the memory is something which remains alive, exposed to the changes of our mental states and experiences, maybe exposed to a further interaction with the thing itself, and definitely subjected to our own caducity and death. But for something to gain new life as an immortal being it has to die, it has to cease to be able to mutate, and this has to occur outside us because, in the very moment when the artist negates his memory and substitutes it with the image, his intellectual desire is to negate life with death. The subject is killed by the artist and it is represented in a space and a time that once were but now are not, as once the subject was but now it is not. 


Related sections are 'Liquid Documents', where the scraped photographic surface is bottled with water and in time melts and continues layering and changing,  'Persistency of Death (Desire of Memory)' an installation of the scraped photographs and the liquids, and 'Ashes' where the scraped-off surface is used to compose other images