In After the Image, the original photograph is turned over. The image itself withdraws completely, leaving only the reverse sides of the photographic prints. These surfaces become a ground onto which shadows cast by grasses, flowers and surrounding vegetation are projected.

Light, vegetation and the overlapping backs of the prints produce new photographic relationships. In the resulting fields, the vegetation can gradually lose its identity, moving between plant, shadow, line, drawing and calligraphic mark.

Each composition is constructed from thirty-two photographs. Without gutters between them, the individual photographs lose their autonomy and the joins almost disappear. The field therefore reads first as a continuous image, while its underlying construction is discovered only gradually.

Display: large monochrome photographic fields, approximately 1 .30 metres wide × 1 .00 metres high