The series cuts examines the limits of the photographer’s perception, and the resistance of the world to portrayal. The works consist of small details of documentary photographs I have taken over the last 15 years. Often the images are of details I was unaware of while photographing.

Like the main character in Antonioni’s Blow Up, I often only discover the secret narrative of these details “in the darkroom”. These “secret stories” take place in the backround, on the margins, of the original images (which are now exterior, unknown to the viewer).

Freed of their original context, they form new relationships with other works in the series, and with the world at large, quite independent of their documentary origin.