In this iteration of the draped photo installation, I have constructed two distinct front and back through systems of repetition, duration and distance of light exposures in the darkroom. While reproducing my relationship to photographs, their objecthood, their materiality, and their double surfaces, from dates and notes on family photos to darkroom notes on the back of prints, this structure also recreates my everlasting conflicted relationship with the medium in a spatial situation. The urge for absolute refusal to participate on one hand, and a framework for thinking, learning and endless joy in making on the other. The form and scale of the installation is intended to transfer the performative process of making photographs in the darkroom to the space of presentation, and by doing so it subverts our corporal reception of photographs, where we have become the static spectator of the everlasting flow of images.  

Photograms are cameraless photograph. This state of cameralessness dramatically alters the photograph state of being. The departure of optics from the process of making means the removal of the reproducible organ*. While the photographic discourse has been about capturing an image in the flow of time and space, the decisive moment, mirrors and windows, photogram completely reject the representational notion of photography. It is a physical object, that is a residue of a performative event, they contain accidents and errors, dents and scratches, unpredictable informations and finger prints.