A photo box lined with aluminium foil for 100 sheets of Ilfospeed photo paper, 7 × 9 1/2 inch, serves as a negative mould for a series of plaster casts produced since 2015. The gypsum, which is initially pliable but fragile after drying, suggests two different associations according to these two states: on the one hand it is a pliable material that has always been used to make casts and sculptures or to take off negative moulds (death masks, for example), on the other it is brittle after hardening and is easily broken. Hessam Samavatian uses these two characteristics as a medium for autobiographical notes. He draws a parallel to the photographic light print, which can record concrete experiences, but also sees a parallel between the fragility of the material and the development of a life that is likewise characterised by continuous lines as well as fractures. He pins the fractures together with dovetails, but never laminates them. The various surface treatments—e.g. paintings, photographs belonging to his grandfather fixed in photo emulsion, or chemograms in which the plaster reacts to developers, stop baths and fixers—do not follow any scheme, just as no two days are the same.