The work explores intimacy through the traces that remain after physical presence has passed. Human bodies appear not as distinct individuals, but as fragmented, layered forms – almost archaeological remnants, imprints of encounters that can no longer be fully reconstructed. Like cave paintings or fossils, these traces exist between presence and absence: evidence of a relationship, while simultaneously becoming something independent from the people who created it.
The surface becomes a shared space where bodies and memories overlap. What begins as a record of human connection is transformed through the process of preservation, becoming an image that can outlive the encounter itself. In this sense, the work considers memory not as something fixed, but as an environment in which traces continue to interact, mutate, and acquire new meanings.
It asks what remains of intimacy when the boundaries between bodies, memories, and their environments begin to dissolve. Can a trace hold the presence of another person after physical closeness is no longer possible? And as technology increasingly becomes the space through which we preserve, encounter, and perceive one another, what new forms of proximity and dependency might emerge?
The work imagines these traces as messages carried into an uncertain future, contemporary cave paintings whose original context may eventually disappear, while their evidence of connection remains.
Series of three analog prints,
Chemigrams on Ilford Gallery Baryt Glossy Paper,
Vaseline applied to the parts of the body that come into direct contact with the paper
Dimensions: 185 × 127 cm (each work)