To Remember Us By

Made in (2026) using a combination of different techniques merged into a single image. It brings together photography, digital generation, double exposure etc The visual language was inspired by a few distinct influences. The monochromatic blue tones draw directly from cyanotype prints. The use of double exposure and embedded cuts reflects the visual pacing of Asian cinema. The central spark for the project came from an old, damaged photograph found ruined by age, rain, and water exposure after sitting uncared for. Seeing how the water had broken down the paper and bled the details into the background became the driving inspiration for how this piece was built. By layering these mediums together, the sharp outlines of the two figures soften until they merge with the trees around them. The outlines of the figures bleed directly into the trees, the leaves, and the surrounding environment. The visual boundaries soften, making the entire image feel like it is floating off, distant, or fading away. Think of it like a photograph tucked into a letter just before you close the envelope. It doesn’t ask for a reply, and it doesn’t try to explain what happened between then and now. It’s a visual sign off, an object left behind in the woods or under water to be remembered.