Days of Winter is a journey along a body that aims to examine skin through the nudity of certain shapes. I have conceived that journey as a search from the whole to the part, from a perspective of the entire body to a glance of fragments of such a body, from representation to abstraction. A soul is also there. There is a body, a hand, and some lips: they suggest the presence of a mind, an enigma of a person who searches for truth through her body. The scope of “Days of Winter” is, consequently, twofold: a story and its narrative and a visual journey. As a story, “Days of Winter” aims to place the viewer before a drama: A woman is shown, revealed only in part as if her body will deliver a monologue. A self-exploration, a journey again, but this time from the skin to the inside. There is also a sense of loss: The woman is not young. She was young once but is now reaching maturity. As a visual journey, “Days of Winter” aims to present the body from a sculpture perspective, away from the conventional approach of idealising the female body. The nude here is abstracted to lines and shapes, dissected and rearranged. The clean, honest, direct representation of skin and parts of a body have been the clues. This approach has had its counterpart in my darkroom: There, the prints are revealed as a physical objects, worked by my hands and transformed by the action of chemicals. I have also experimented with overexposing the film and increasing development times by using hard papers.
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