“I don’t know where I’ve been,And it’s been such a long time
Since I really saw the difference
Between you and I…
And I don’t know where I stand,
Faced with a cruel world.
I’d say everything points to
The disappearance of the girl…
Ooh, yeah-hey, yeah-hey,
If I, if I could persuade you…
Hey, yeah-hey, yeah-hey,
You know, you know he betrays you,
Hey, yeah-hey, yeah-hey,
As much, as much as he saves you.
Yeah-hey, yeah-hey.
I need you to see
There’s not much innocence
In the imposed darkness
Of imposed silence.
I need you to see
The good in everything,
For the only thing that saves you
Is your economy of blessings.
Ooh, yeah-hey, yeah-hey,
If I, if I could persuade you…
Hey, yeah-hey, yeah-hey,
You know, you know he betrays you,
Hey, yeah-hey, yeah-hey,
As much, as much as he saves you.
Yeah-hey, yeah-hey.
Are you still waiting
For the real thing to save you?
‘Cause it isn’t there
And you know that he doesn’t even care
About you.
Ooh, yeah-hey, yeah-hey,
If I, if I could persuade you…
Hey, yeah-hey, yeah-hey,
You know, you know he betrays you,
Hey, yeah-hey, yeah-hey,
As much, much as he saves you.
Yeah-hey, yeah-hey.”
[ The Disappearance Of The Girl – Phildel ]
So, here is the first work from the new series, inspired by the title track of the album, which was also the first photo Luisa and I shot. As dark as Phildel’s music can be at times be, one of its fundamental qualities is a certain frailty, delicacy and etherealness, which I tried to capture in the work that “introduces” the project.
Despite the song being about a very dark subject, namely Phildel’s segregation at the hands of her stepfather, it still feels very bright, almost mystical to me. While in the accompanying video she represented the “disappearance” as drowning, I tried a more metaphorical approach by making Luisa fade into light, as if she were being engulfed by bright white fabric in a ritual sacrifice. I can feel some kind of acceptance in the song, which is why I gave the photo a kind of ecstatic ascension to a higher level of conscience aesthetic, like a Rapture of sort.
The hardest thing about this photo was getting the fabric to look right: I wanted it to look both recognizable and unreal at the same time, as well as dynamic enough to be engulfing Luisa while being very bright. There you can see my curtains, a couple of bedsheets and some spare white tulle I had. Also, I needed all that white not to distract the attention from the model. The light entirely comes from the window behind, so I had to work hard with the exposition to get the photo right. Luisa did a grat work at portraying the kind of ecstatic disappearance I had in mind, so the result is exactly what I wanted for the photo.
Despite the song being about a very dark subject, namely Phildel’s segregation at the hands of her stepfather, it still feels very bright, almost mystical to me. While in the accompanying video she represented the “disappearance” as drowning, I tried a more metaphorical approach by making Luisa fade into light, as if she were being engulfed by bright white fabric in a ritual sacrifice. I can feel some kind of acceptance in the song, which is why I gave the photo a kind of ecstatic ascension to a higher level of conscience aesthetic, like a Rapture of sort.
The hardest thing about this photo was getting the fabric to look right: I wanted it to look both recognizable and unreal at the same time, as well as dynamic enough to be engulfing Luisa while being very bright. There you can see my curtains, a couple of bedsheets and some spare white tulle I had. Also, I needed all that white not to distract the attention from the model. The light entirely comes from the window behind, so I had to work hard with the exposition to get the photo right. Luisa did a grat work at portraying the kind of ecstatic disappearance I had in mind, so the result is exactly what I wanted for the photo.
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