Après tout (After All) represents a turning point in the work of Amaury da Cunha.
His previous series, Saccades (Jolts), was somewhat luminous, infused with a sense of wonder facing the world. Après tout darkens in tone, as wonder gives way to bewilderment. Invading shadows are the backdrop for a photographer depicting himself as blinded. Death and sex are less allusive. A dog bares its fangs, while a bird of prey claws a branch. Yet shafts of light or a glimpsed road suggest that the end is not as impending as we may think. Continue Reading →