ill angels only is an elegy to intimacy, absence, and change. Inspired by Edgar Allan Poe’s poem Dream-Land (1844), which describes the journey of a ghost that haunts the living world, the work weaves together the symbolism of 19th-century mourning culture with the nostalgia-producing mechanisms embedded in the theoretical understanding of digital practices, as well as the medium of photography itself.

The work connects the “death-drive” of photography with contemporary byproducts of constructed images, but where the raw source material is at its core, photographic in nature. The result is a kind of afterimage, a residue of human intervention that marks the digital or material surface.