The camera is usually admired for its veracity -- its facility for recording literal truths, or, if not always quite truths, at least exact representations of things that truly existed in front of the lens at some particular moment.
But it has other sides. Focused very soft, it becomes something closer to a paintbrush, absorbing pigments from the world and smearing them onto the surface of the image in soft, intermingling strokes. Like an impressionist painting, details are washed away and other elements emerge: primitive forms, colors, attitudes, and emotions.
The title of the series reflects this affinity to painting, but also points to something deeper -- the stillness of the figures themselves, and the way they float between the world of living flesh and that of the imagination.