The Short series is about documental incongruency, photodegradation and imminent falls/ transformations around contemporary social practices. The photochemical processes with silver halides and other salts that we still practice today bring a chemical routine in liquid solutions of developers, interrupters, bleachers and fixers (with optional metallic tonnings). A final wash leaves the printed paper with no residues.
I deny the technical domain of the tool and skip the fixing and washing steps of these routines. When exposed to high-load UV light sources (preferably the sun, but UV-emitant special lights can be used, as well), the pictures continue to react chemically, making the paper to oxidize and present, by the end of a variable time, the total loss of the image (a fact that reports to the end of all images). The degradation is symbolically extended to the concepts imprinted on these surfaces, like social and existential dynamics that I see fading to obsolescence, such as the extreme confidence in the cybernetic memory; the directions given by laws governing the right of the author; the concept of expropriation over speculated territories being applied while its means violates human rights; among other issues.
The black paper is kept as an “it was not”.
Unfixed gelatin silver prints