If reality were ever capable of retreating and giving place to the fantastic, then it is photography which would be called upon to provide scientific confirmation of the existence of a visible fantasy. My desire for an image of the burden of memory can at last be satisfied. A hypothesis is a probability which has been granted the temporary status of principle in an attempt to explain physical phenomena. If in our world photography abstracts a fragment of that world and presents it to us, in “Fade out” the opposite occurs. The light streaming from the centre which defines the visual impression of every space is exhausted within the limits of the photographic frame. The real subject of these images is the way space is transformed by light and movement. The logical development of the landscapes described takes place beyond the photographic field. The desire for a correlation between true reality and photographed reality is an unrealisable procedure. As Jorge Luis Borges writes “all of time has already been traversed, and our life is but an abstract memory or merely the reflection, undoubtedly false and fragmented, of an unrepeatable procedure”. Through the “imperfections” of a home-made camera, space and time are indeterminate from one instant to the next.
