The series stems from a desire to explore, on the one hand, the mythology tied to the natural and alpine environments, kept alive in mountain villages by the old generation; and on the other, from a desire to escape the oppressing sense of stagnation felt in villages where at times death seems to be the only aspiration. If some of the images explicitly refer to existing beliefs, like the snake photograph, the series is more ctional than documentary. It seeks to echo the way in which myths single out, the ways in which objects are made into sym- bols and reality distorted within that process. It unfolds as a series of vanities that universalises through themes such as death (agaric imprint for example), decrepitude (the motif of the ruin) and absence, places and objects often used to pro- mote a particular regional identity. Finally, these images seek to express existential feelings such as the weight of time and the anxiety of death that here originate in part in the personal and often fraught relationship between the symbolic and cultural investment of an environment and lived experience.