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The Chambers of Love setting had been ready for quite a while, ever since the Last Supper photo (1981). I was ready for the alchemy of burning and emptiness.
No sooner had the first photo been named: the Chamber of Love, than I understood I had “my subject” at hand, that everything else had been a mere picturesque detour, that I could stop there and invent such chambers by the thousands… romantic renouncement, sensuality of absence, lust in white, the soul, freed from all weights, hovering over the last traces of bodies… and at the same time, the traces of bodies that linger when all the rest is lost.

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