Mostly images of late afternoons in old towns shot from 2007 to 2016 using consumer-grade cameras and phased-out camera phones, the day approaches as if builds on the rudiments of travel and documentary photography to take on themes of human absence and bygone traces of previous habitations, the blurred lines between memory and dream, and a pervasive sense of mortality.
Through these images, I seek to fabricate topographies of the end - or preludes, if not annotations, to extinction - and a reworking of the traditional role of photography as a means to carry out an act of remembrance while exploiting a Barthesian sense of the photographic image, whose enactment of presence is a sheer index of what has gone, the photograph being, intrinsically, an elegy. The series labours to my photography’s propensity to signal the liminal and the ephemeral, to gesture towards narratives and histories predominantly concerned with accounting for traces, disappearances, and even the spectral.
Offering the viewer an experience both numinous and unsettling, the day approaches as if aspires to create a glossary of poignant, sometimes dissonant, gestures and spaces that explore the fleeting and the in-between, the nameless and the invisible, always caught in the very act of meaning and becoming, of being named and being known, never fully arriving, and teetering at the brink of insight and loss.
These photos chronicle (mostly everyday) objects, bodies, and spaces that persist in the aftermath. In the same way that its fragment title intimates both a promise and a threat, the day approaches as if mines the contradictions in its preoccupation with absence and trace, the transient, and the interstitial, generating artefacts that are at once both allusions to possibilities and proofs of endings.