By combining several different approaches, from installation, archival photography, to video projection he’s attempting to reconstruct the image of his own childhood. When using photographs from the past, the artist is not subject to the nostalgic representation of the personal archive, but resists it and decides to re-examine those segments that most marked his childhood. One of the neuralgic points is the death of his grandfather, so he intervenes in a joint photo from his childhood with chemical methods of erasure, until the complete annulment of its contents. Project Safe House points to the many possibilities of the photographic medium in reinterpreting memory.
