We feel the impulse to preserve what is bound to disappear. A gesture, a bodily form, or an idea of beauty is never stable: it shifts, drifts, fades. What remains, however, is not only what we see, but the way we have learned to see it.

The Remains of the Gaze begins from this premise: the gaze is neither neutral nor individual, but an inherited structure. A set of visual codes —compositions, gestures, and modes of representation— that continue to shape how images are produced and read, even when they appear new.

The work engages with this legacy, particularly with pictorial traditions, not as a source of reference but as an active framework that still operates in the present. These structures do not simply belong to the past; they persist in the ways bodies are staged, composed, and made visible. The image becomes a site where this continuity can be traced.

The project unfolds in three movements.

Each photograph functions as an archive in a double sense: it preserves a fleeting moment while also revealing what persists in the act of looking. The project does not follow a chronological sequence. It begins at the point where the image no longer fully holds, moving through the structures that sustain it and towards those where it becomes unreadable.

Rather than presenting transformation, The Remains of the Gaze situates itself in moments of friction —points where the image remains, but can no longer sustain itself in the same way.

The work expands beyond the still image. Certain pieces unfold in time through video, where the instability of the gaze becomes more evident. In these works, the image can no longer be fixed, and meaning continues to shift as it is perceived.