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Lichtquellen examines thresholds between alienation and introspection through a sequence of nocturnal photographs made in Berlin. The work approaches the city as both document and metaphor, tracing its surfaces and silences in the dim light of its winter months.
Each copy was handprinted with Berlin-based publisher Pogo Books using risograph machines and a special extra-dark black ink. The coarse grain, ink spray, and tonal imperfections echo the instability of memory and perception. Printing aberrations and the residue of touch render each copy unique.
“Why is there a wall between me and the world, between me and others, betweenme and myself? How did it get there, and when did I first notice its edge?This book traces that wall. Some of it is for me. The rest is for you.
There’s comfort in believing photographs document the reality of things. But we forget that reality doesn’t belong to us. We’re bound to see everything differently, so I tried to find something we could share. What lingers in these collected fragments isn’t fact. They offer some truth beyond names and maps: loss, vulnerability, longing— the feelings that make you and me human.
The people and places in these images are unmoored from their time, drifting toward something you might recognize as your own.
There’s a photo I keep returning to. A woman at a trunk sale outside Stockholm, with a faded horse tattoo and eyes like deep wells of cool, quiet, dark water. Shy and beautiful, she carries inside her the young woman she once was. Her wild horse tamed by time. She is at once old and young, like reading a whole novel in a glance.She looks into me with a gaze that delivers my fortune: one day you will die.
So maybe that’s the real question I keep circling. Not why the wall is there, but whether I can still pass a message through to the other side.”
Weightless at Last continues my exploration of longing and distance. The book traces the quiet violence of intimacy and our yearning for connection.
Published by HARDEL in 2025, the book was showcased at Photo London, OffPrint Tate Modern, and Miss Read Berlin, and shortlisted for the Deutscher Fotobuch Preis in the Independent Publishing category.
Image slideshow shows book spreads, as well as exhibition impressions from Back of the Hand (Sept, 2025) and Weightless at Last video installation (Oct, 2025).
Emerging from Cuadros’ work on impermanence and renewal, No More Blues experiments with cyanotype printing as both image and residue. Botanical contact
prints and found-light exposures produce ghostly silhouettes that are tender, spectral echoes of bodies and plants.Developed during the inmitten group exhibition (2025), each handmade print preserves gesture and trace.
Selected poems from my journal between 2021-2024