The grain and bloom of the black-and-white stock — that soft, almost watercolor dissolve at the edges — does something crucial here: it dissolves the boundary between document and intervention, which is exactly what the work is about. The figure’s stillness against the textured decay of the wall creates an almost ink-wash effect, where presence and absence become the same thing.

How intentional is the choice of degraded or aged film stock versus digital black-and-white, and does it shift depending on the location or