The collective understanding of an image often stems from its perceived static nature. It seemingly captures a moment in time and persists, serving as a testament to a certain reality. However, a more deliberate and meticulous examination reveals the image to be a dynamic construction, one that evolves over time due to the degradation of its physical form, especially evident in the case of a photograph. Elements such as the arrangement of subjects, context, and format significantly modify this presumed reality. They are edited and filtered through the lens of the image capturer, ultimately generating a narrative that we consume as truth.

Domestic images, in particular, tend to exhibit more pronounced fictional elements. They orchestrate specific placements of individuals, manipulate objects, and alter settings to craft staged scenes, aiming to present an idealized, artificial version of reality far removed from everyday life. The genuine essence of the domestic sphere lies distantly from these manufactured narratives, residing more in the private, where the accumulation of the unwanted creates a portrayal of our daily lives, a stark contrast to the public and idealized representations.

“Remanente 869366” emerges from a domestic photograph acquired in a commercial environment, divorced from its original context’s inherent fiction. Through this image, the piece endeavors to capture the essence of the domestic by employing the unwanted and undesirable, such as dust. Layers of grime on a rug create a distorted image imbued with noise and texture, deviating significantly from the conventional perception of domesticity.