LAST KISS

No immediate crash is actually captured in the photos, only damaged car bodies that are still active in traffic. The series describes a post-impact timeframe where thoughts are being ruminated.

This is a romantic book about contact and memory. The poems tell the story of a relationship, from the accidental encounter to the thrilling chase of flirt, from the achieved unity to complete destruction.

The book design has its own narrative that adds up to the content of the album.

There is nothing shiny in the images, we nurtured a penumbra quality of light. Working with Oyster Gray 120 paper on the interior for its warm light-gray tone, resulted in a dimmed treatment on the whites. All the bright spots are toned down, like memories tend to become.

The cover bares the mark of an impact. On thick Sumo White 300 paper we embossed the imprint from a pair of lips. The ISBN code is also dented on the back.

The chunky pure-white covers are cut short as they meet the spine. To compensate for the ghostly colorless kiss stamped on the cover, a dark red spine is the only remarkable detail about this book at a first glance. The read leather texture reminds of the dashboard from a car.

The sequencing of photos was edited with care, because crashed cars can get tedious and heavy to browse through. The 52 images of twisted metal were interrupted by 12 shots of landscapes and clouds, so the viewer could take a breather and let feelings set it. The interior is bound to the covers by a bordeaux page.