The concussion disrupted my life with a disorienting suddenness, as though someone had turned off the lights in a bustling room. What followed was a period of isolation, my own reluctant confinement within the dark corners of my apartment in Montreal. It was here, in this self-imposed seclusion, that I was forced to confront not just the physical limits of my injured brain but the very nature of impermanence itself.

Photography had been my profession, my way of engaging with the world. Through the lens, I shaped moments into stillness, freezing time and taking a piece of it with me, every image a gesture towards memory, a way to fix the fluidity of experience if only for a moment. But my injury stole that from me: my movements were restricted, and my senses dulled, leaving me with little more than my own thoughts and the slow decay of the things around me.

I began to explore the idea of decay, not as an abstract concept but as something intensely tactile. Fruits rotting on the kitchen counter, the slow crawl of mold on forgotten leftovers, the gentle creases in my hands—each became a meditation on the impermanence that we so often refuse to acknowledge. And so I picked up my camera and began making images.  I juxtaposed these images of decay with those of more durable objects: plastics that seemed immune to time, glass that withstood the elements. The contrast was stark and unsettling, a reminder that while some things might resist decay, nothing is truly permanent.

One day during my isolation, while looking through old family photographs, I was struck by the sense of loss that accompanied each image. The youthful faces of my grandparents, the faded colors, the crumbling edges—it was as if the decay in the physical photo mirrored the passing of the people within it. There was a melancholic beauty to this, a poignant reminder that the act of capturing a moment does not preserve it, but rather signals its inevitable end.

And so my photographic project became a meditation on this theme of impermanence. I began to create an archive of images that reflected the transient nature of existence. The result is a visual journey, ‘a new whole’ made up of stitched together fragments which are connected - through colour, energy, meaning, and aesthetic. The book is edited in such a way that the meaning of the images is determined by those that precede and follow it. I see it a bit like a film made from found footage, but here the footage is my own, and I am piecing it together anew.

Here are are a few selections which im excited to share.