A strict classification of the photographs, either in substance or in form would appear unreasonable, not only because each categorisation would not fulfil the motivic variety, but also because the pictures in their whole do not allude to specific, defined spaces: “latent” is how the artist calls the delay of the senses which unveils unique connections (“liaisons”).
In the series, none of the spaces pictured have clear boundaries; instead they seem to highlight the absence of yet another space. In the manner of a threshold, there is a sense of transition between presence and non- presence, visibility and invisibility, disclosure and dissimulation: a quick glance out the window, an inscription on a tree, or the veiled glance of a man are such starting points that in turn reveal themselves to us, or hide from us. What we see then seems to be out of frame, some kind of invitation to embark on a spatio-temporal quest. Similarly, to the seemingly unlimited sensory horizon the photographs depict (what do the inscriptions actually mean?), time also appears to slip into a structural void. It frees itself to reveal a gap through which the picture can be perceived as the frame of what is not pictured. In other words, what is visible to us always seems transient, on the brink of something else.
This aesthetic approach also reflects itself in a formal manner. As the “latency” of the photographs leads us to temporise their content, the pictures’ framings refer to a common (non-) space. No title or legend allows us to draw a definite conclusion about the effective origin of the photographs - which highlights the possibility of two experiences fortuitously and simultaneously taking place: façade elements meet sculptures, portraits taken in front of a row of streets, decapitated or hidden animal heads on crucifixes. This arranged duality, especially with the crucifix example, is shown in different ways: sometimes through a discreet colour analogy of two different pictures, other times by an obvious ironical reference, dislocation and implication, which drives the spectator into a treasure hunt. In the end, each recipient is free to run the risk of leaping into the unknown.