This image (and others on a show) was created using the 19th-century silver chloride printing technique. The idea for the exhibition emerged from a box of family photographs found in my late father’s archive — snapshots of everyday life, home, and kin. Some of the images were taken by him, others by his friends or colleagues, as he himself appears in several frames.

From these modest album prints, I developed and restored large 30×30 cm negatives to print on paper using historical photographic processes. Some images, however, were born differently — by teaching artificial intelligence the visual “handwriting” of my father, prompting it to imagine scenes he might have captured.

What made it into the exhibition is a mix of documentary and imagined memory — both real and reimagined moments, merging in the way afterimages do: when you stare at one point too long, then close your eyes, and a ghostly opposite-coloured shape lingers behind your eyelids.

Though my father’s ashes have long since scattered from the banks of the Emajõgi to the world’s oceans, this exhibition is a memory of him — of the man I once watched, as a child, bringing photographs to life in the red-lit darkness of our bathroom-turned-darkroom.

Hämarik on silla ületamine – valgusest  pimedusse (või vastupidi), kus nähtav maailm hakkab lahti hargnema ning meel tajub rohkem, kui silmad näevad. Just selles vahepealsuses, kus aeg näib aeglustuvat ja piirid hägustuvad, sünnivad „Hämariku mängud“.

See näitus toob vaatajani teosed, mis kutsuvad peatuma ja tajuma. Mäng – olgu see lapsepõlve meenutus, unenäoline rännak või mõtisklus aja ja mälestuste üle – ei ole siin pelgalt meelelahutus, vaid viis maailmaga suhestumiseks. Hämariku valguses saab iga objekt, varje, peegeldus või liikumine uue tähenduse – mängulise, kuid ka poeetilise ja vahel isegi valuliku.

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