All stories have a beginning and an ending, although this may be a mere convention. In between, paths cross and shadows fade away. Our memory is made of these shadows that remain between its manipulation and oblivion.


It is said that smell has memory, that we can recognize each other through the sense of touch, but what really makes us identifiable for others is our most visible feature: our face. It is indeed what distinguishes us from others, and its absence puzzles us.

We are also baffled by the unusual nature of its space and time. Our wish is to know what, who, when, how, where. It is our very security that depends on it. So it is that we sometimes prefer to live in err than in ignorance. It is not surprising, then, that in the process of building our memory – a jigsaw puzzle with some pieces missing and others unneeded – we try to find a logical thread, even if it implies using a rasp to file down edges or plaster to fill in the gaps.

In these images, I have sought to bring out with this confusion: we do not know who they are, where they are, when they are or when they have been. The prone position at rest, the bluish space, and the light are not the usual ones in which we recognize ourselves. These peculiarities belong to other references far removed from our daily tasks, closer to memory, life, or death.

Faustí Llucià.


For this project I made a 140 x 80 cm camera that enabled me to make slides directly; in other words, there is neither negative nor digital capture, and the piece of work is unique. The same material, placed inside the camera, captured directly the image of the model. The material I used, Ilfocrome Classic RC, is on the verge of extinction, and it is the only analogical material with which you can obtain images from positive to positive.
Original Ilfocrome prints. 120 x 70 cm.

January 2007