"I know very well, but nonetheless..." begins with the hesitation between conviction and doubt—a
space where the mind recognizes artifice yet willingly surrenders to fiction. One KNOWS it is not
real, BUT NONETHELESS…
Through photography, the artist questions the implicit authority of the captured image. What
dictates its claim to significance? Why this fragment, this composition, this sequence? The lens
turns toward talismans of collective faith—relics of a shared mythology where meaning is both
assigned and eroded. Conversely, there are the voids: blank signage, darkened screens, chalkboards
whose messages have been hastily erased. The artist archives these absences, these vessels emptied
of intended content. Even the photograph itself is implicated—some images, though visually legible,
refuse coherence. They flaunt their own futility, their failure to signify.
In the photobook, the artist engineers a deliberate slippage between image and substrate. While
flipping through, one encounters first the image, then its empty carrier, destabilizing the
illusion of unity. What was presumably an artifact becomes a gesture—one that underscores the
divide between the depicted and the material that bears it. One KNOWS the separation,
BUT NONETHELESS…
