At the center lies a fundamental gesture: to conceal. The image does not deny, but protects. It withdraws from the bulimic gaze, from iconographic habit, from the hunger for identical images. The camera becomes a curtain drawn — imprecisely, deliberately — over subjects overwhelmed by an oppressive presence. Concealment is chosen out of respect, critique, modesty. To conceal through technical failure is to suspend the image’s denotative function, and reactivate its interrogative potential.
On Vanishing reflects on the status of the image, on the transformation of public space, and on the crisis of the historical landscape. This work participates in a broader discourse around the structural alteration of places, caused by social, cultural, and economic dynamics. Mass tourism, compulsive shooting, and the spectacularization of cultural heritage are symptoms of a transformation with real and lasting consequences. Concealing through error becomes a means of questioning — of resisting visual simplification and the commodification of space and heritage.
The project takes shape in two formats: a book and an exhibition. Both are conceived not as illustrative devices but as mechanisms for perceptual deceleration — zones of opacity, spaces where seeing is no longer an automatic action but a practice of attention.
