"(…) This is how we understand and explain this memory-book, where the images of a part (portraits from 1955 to 1966) of a family archive of a photographic studio in Madeira (Imagem Foto), are organised in a dynamic interaction between the body in the fictionalised place of the studio and the rehabilitated appearance in the retouching of the negatives.

It was inevitable that Lucília Monteiro, a recognised photographer and photojournalist, would see the importance of reorganising her father’s collection in these times of forgetfulness of the collective memory of a place – Madeira –, when the hope for most people was emigration to the Americas or South Africa, and the archipelago became
a place of women without men. Men who, being absent, relied on that memory support, the photographic image, to imagine the days and events they were missing." 

Maria do Carmo Serén

Graphically speaking, this book seeks a visual dialogue between the past that exists in the photographic archive and a contemporary view of it given by the photographer Lucília Monteiro. Following the author's curatorial gesture, I sought to establish graphic encounters between vernacular-based records – for example, the format (a reference to the traditional family album) – with contemporary ways of reading and a page composition that tends to be classical in order to respect the original image. 
The typographic composition on the book cover is born from an analogy with the idea of a cycle. The book was printed in offset with UV inks using 2 shades of black to faithfully reproduce the images.