Can the horror only be contained through media representation—and thus through distortion? This series presents, through unsettling images, the paradoxes of our behavior: making the incomprehensible comprehensible by rendering it fit for a document folder. Filled with joyful excitement, cameras and cell phones are readied, and in the act of developing and subsequently archiving, we perform a second burial—the burial of history. The imagined fulfillment of a vague promise of salvation lasts only for that fraction of a second that the act of photographing takes.
