This installation represents a silver print selection from the archive of the spirit houses I’ve photographed during my travels around Thailand, Cambodia, Malaysia and Laos.

Some of the prints, unfixed, are protected from the light by an envelope made of darkroom safelight filter, so the light that reaches the image going through it does not affect its unstable nature.

Some of them hang, unprotected and at the light’s mercy.

Another selection lays safely in the gallery’s bathroom, which I safelight-proofed for the exhibition.

One of the demands from the galleries was to include an interactive piece on my solo show and t have the visitor leave an in-print at the exhibition so with this piece visitors are invited to interact with this darkroom process.

I gave them the choice of taking out the prints from the safe envelope, to take the prints from the safety of the bathroom into the exposed wall, and vice versa.

By being able to select mid-development prints and expose them to the light outside, witnessing the ongoing transformation of these images I wanted the visitor to have conciousness about the state of the image all while trying to forge some sort of intimacy with it.

The interaction sparkled conversation amongst some of the visitors, whom I heard argue about other visitors decisions, about which photograph to « save » and why.