This study started as a series of prose poems. But, as much as I kept trying, I couldn't produce words and punctuation to articulate what I wanted to convey. At first I thought I could complement words with images. Then, I found visual grammar alone to be more effective than sentences due to the dimensions I was interested in bringing to the fore: the repetitive, uncomfortable, sometimes obsessive nature of grief; the blurriness of emotional states; how grief both repeats and morphs, and how it morphs in its repetitiveness. 

The series is based on two photographs I took of a place that is familiar to me: a specific tract of the seashore on the Adriatic which is the backdrop of many of my childhood memories. The first image originally portrayed peaceful morning waves; the second was taken late at night as a thunderstorm was approaching. Each image has been extensively, sometimes violently, edited -- several times and at different times -- to the extent of making a familiar place unrecognizable. Each image presents slight variations and distortions compared to the preceding one. Sometimes the variations are subtle, other times they are abrupt, cacophonic. 

Ideally, I imagine this series to be composed of all the possible combinations of color pixels from the two original photographs--a neverending progression of cognitive, visual, syntactic, and epistemological contortions.

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