In the chiaroscuro of the darkroom, I confront the persistent specter of mortality, capturing glimpses of life's impermanence through the lens of my camera. Negative film of animal carcass becomes a visual memento mori, extracted from the landscapes encountered during my wanderings. Yet, as I navigate the interplay between the shooting and printing processes, a profound différance unveils itself―a temporal and existential delay that lingers between the act of shooting and the act of printing.

The dichotomy between shooting and printing becomes a philosophical inquiry into the nature of reality. Is the true representation of existence to be found in the frozen moment etched into the negative, or is it to be found in the transformative alchemy of light and chemistry within the print? The answer remains elusive, existing in the interstitial space of différance, where time and interpretation intersect and intertwine.

The darkroom, as my artistic crucible, becomes a sanctuary where delay is manifested as a contemplative pause. Here, the frozen moment in the negative undergoes a metamorphosis that transcends the boundaries of mere documentation. The emerging compositions in the prints bear the marks of artistic interpretation - a unique expression of the différance between the moment captured and its eventual manifestation.

In this artistic pursuit, the contrast between the process of shooting and printing becomes a catalyst for profound inquiries into the nature of the original and the copy. The différance, as a meditative threshold, prompts viewers to contemplate the fluidity of perception and the inherent subjectivity of representation. Beyond the binary distinctions of originality and replication, the oeuvre seeks not only to capture the essence of mortality, but also to engage with the nuances of time and interpretation, where the true nature of reality eludes definition and resides in the ever-shifting interplay of shadow and light.