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A close photographic scene whose reflections and layers make the subject uncertain.

Before I Vanish · Chapter 05

Things Aren’t AlwaysWhat They Seem

Ambiguity, illusion and the uneasy gap between what we first see and what is actually there.

Surfaces can seduce, distort and conceal, offering beauty and certainty while quietly undermining both.

The closer we look, the less fixed the visible world becomes: reflection, distortion and passing forms break it apart and remake it.

Look again

Movement I

The Familiar

A hand becomes the visual weight at the centre of an ambiguous scene. — 02The Weight of a Hand

A hand becomes the visual weight at the centre of an ambiguous scene. — 02The Weight of a Hand

A closed door remains fixed within a dark architectural setting. — 03The Door Stayed Shut

A closed door remains fixed within a dark architectural setting. — 03The Door Stayed Shut

A woman’s presence appears held in the texture of a wall. — 04Where the Wall Remembers Her

A woman’s presence appears held in the texture of a wall. — 04Where the Wall Remembers Her

A human figure appears doubled within reflective glass. — 05Someone In The Glass

A human figure appears doubled within reflective glass. — 05Someone In The Glass

Seeing is not the same as knowing.

Movement II

The Double

Two versions of a figure occupy the same photographic space. — 06The Other One Was Me

Two versions of a figure occupy the same photographic space. — 06The Other One Was Me

A portrait is split into competing versions of the same identity. — 07Divided Self

A portrait is split into competing versions of the same identity. — 07Divided Self

A portrait turns away from something just outside the frame. — 08Trying Not to See

A portrait turns away from something just outside the frame. — 08Trying Not to See

Two presences are separated by a shifting layer of light and surface. — 09Something Between Us

Two presences are separated by a shifting layer of light and surface. — 09Something Between Us

The photographer and the act of looking become part of the image. — 10The Other Side of the Camera

The photographer and the act of looking become part of the image. — 10The Other Side of the Camera

A photographer is absorbed into the scene they are recording. — 11The Photographer Becomes the Photograph

A photographer is absorbed into the scene they are recording. — 11The Photographer Becomes the Photograph

Movement III

Misreading the Object

12An Eye Made From Nothing

An eye-like form emerges from colour, texture and abstraction. — 12An Eye Made From Nothing

An eye-shaped form watches from an unexpected place above. — 13The Eye Above

An eye-shaped form watches from an unexpected place above. — 13The Eye Above

14The Architecture of Something Small

A small object takes on the scale and structure of architecture. — 14The Architecture of Something Small

A dark figure remains concealed while the surrounding image resolves. — 15The One Who Stayed Dark

A dark figure remains concealed while the surrounding image resolves. — 15The One Who Stayed Dark

A tiny form appears to observe a much larger scene. — 16A Small Witness

A tiny form appears to observe a much larger scene. — 16A Small Witness

17Where Gravity Breaks

Familiar forms appear suspended where gravity no longer behaves as expected. — 17Where Gravity Breaks

Two bright suns appear together in a winter evening sky. — 18Two Suns, One Evening

Two bright suns appear together in a winter evening sky. — 18Two Suns, One Evening

The second look changes everything.

Movement IV

Reality Bends

A city is transformed into layered lines, reflections and fractured geometry. — 19The City Dreamed in Lines

A city is transformed into layered lines, reflections and fractured geometry. — 19The City Dreamed in Lines

Urban forms bend and overlap as if reconstructed from memory. — 20A City Bent Out of Memory

Urban forms bend and overlap as if reconstructed from memory. — 20A City Bent Out of Memory

Bands of vivid colour appear to rise through the photographic space. — 21When Colour Learned to Fall Upwards

Bands of vivid colour appear to rise through the photographic space. — 21When Colour Learned to Fall Upwards

Music is translated into an abstract field of movement and colour. — 22What the Music Became

Music is translated into an abstract field of movement and colour. — 22What the Music Became

A passing shape alters the scale and certainty of the scene below. — 23Something Passing Over

A passing shape alters the scale and certainty of the scene below. — 23Something Passing Over

Low cloud settles into the landscape as though it has become a presence. — 24The Cloud Came Down to Listen

Low cloud settles into the landscape as though it has become a presence. — 24The Cloud Came Down to Listen

A human body dissolves into light, movement and surrounding air. — 25A Body Made of Air

A human body dissolves into light, movement and surrounding air. — 25A Body Made of Air

Movement V

The Last Version

The edges of an interior appear to recede and lose their stability. — 26The Room Was Falling Away

The edges of an interior appear to recede and lose their stability. — 26The Room Was Falling Away

A quiet figure and surrounding space suggest a sound withheld. — 27The Sound I Didn't Make

A quiet figure and surrounding space suggest a sound withheld. — 27The Sound I Didn't Make

28The Noise Inside

A dense interior image turns thought and noise into visible texture. — 28The Noise Inside

Layers left after painting form an uncertain image of their own. — 29After the Paint

Layers left after painting form an uncertain image of their own. — 29After the Paint

Beauty and confinement coexist within a carefully framed scene. — 30Beautiful Captivity

Beauty and confinement coexist within a carefully framed scene. — 30Beautiful Captivity

A veiled scene resolves slowly through translucent layers. — 31Through the Veil

A veiled scene resolves slowly through translucent layers. — 31Through the Veil

The final photograph stands in complete clarity and stillness. — 32The Last Photograph

The final photograph stands in complete clarity and stillness. — 32The Last Photograph

Perhaps the mistake was believing the first version.