The opening date marks the moment when Jorge Molder began using himself—particularly his face—as the persistent subject of representation. The closing date corresponds to the completion of his last series produced using gelatin silver prints, after which he adopted digital technology in the making of his images.

Working in the studio, the artist stages a character—or multiple variations of one—that remains largely abstract and enigmatic: an embodiment of the double, the uncanny, the other. This recurring figure is constructed through pose, gesture and expression, as well as through the interplay of light and shadow. It is, therefore, entirely an artifice. As Molder has repeatedly stated over the years, self-representation in these images is not synonymous with self-portraiture.

This systematic, though deliberately partial, retrospective of Jorge Molder’s photographic work is presented in two parts due to its scope, each functioning as an exhibition in its own right. This second chapter follows his work from 1997 to 2003, a period marked by such significant series as Anatomia e Boxe (1997), Nox (1999), La reine vous salue (2001), and Comportamento Animal (2002).