These works are part of a series that emerges from the photographic documentation of a
constructive–destructive process, largely governed by hazard.
The photographed objects—very small portraits drawings—are reproduced at a huge scale, so that
the process itself, the way colours infiltrate the paper, the textures, and the awkwardness of
execution become the subject.
The approach draws from my experience with art reproduction. While reproductions usually imply
a reduction in scale and require the photographic act to remain invisible, in this series it is
photography that generates the work.
A reversal of roles occurs: reproduction is no longer secondary—it becomes the work itself.
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