Eve's story #01
Eve's story #01
These twenty-three images tell us a story taking place all in one room within a few, frantic seconds.
A story that has to be discovered through details and expressions.
Twenty-three reasons why a person chooses to kill. One may think it’s for revenge, another one for fear, madness, cruelty or self-defense.
Others may look at Eve as a ruthless professional, or a passionate lover.
Was she blackmailed?
Was she there by mistake?
Or, on the contrary, did she intend to accomplish one act of final justice?
Eva represents that part of us that in an unusual occurance may react by doing what no human being should ever do.
The woman that instead of removing the apple from the branch of the forbidden tree loads a gun and accomplishes the fatal act, the dramatic step that pushes, besides herself, all of us beyond a border inside which we were protected: where good and evil could still be recognized as well as right and wrong, and where innocence could not be mistaken with guilt.
By looking at each photograph where light, shadows and reflex convey twenty-three different facets of a single, brief, unknown background, we can perceive how frail human heart is, as it cannot find forgiveness for each of its faults and succeeds in creating alibis or acrobatic extenuating circumstances.
These twenty-three images tell us a story taking place all in one room within a few, frantic seconds.
A story that has to be discovered through details and expressions.
Twenty-three reasons why a person chooses to kill. One may think it’s for revenge, another one for fear, madness, cruelty or self-defense.
Others may look at Eve as a ruthless professional, or a passionate lover.
Was she blackmailed?
Was she there by mistake?
Or, on the contrary, did she intend to accomplish one act of final justice?
Eva represents that part of us that in an unusual occurance may react by doing what no human being should ever do.
The woman that instead of removing the apple from the branch of the forbidden tree loads a gun and accomplishes the fatal act, the dramatic step that pushes, besides herself, all of us beyond a border inside which we were protected: where good and evil could still be recognized as well as right and wrong, and where innocence could not be mistaken with guilt.
By looking at each photograph where light, shadows and reflex convey twenty-three different facets of a single, brief, unknown background, we can perceive how frail human heart is, as it cannot find forgiveness for each of its faults and succeeds in creating alibis or acrobatic extenuating circumstances.
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