The second chronological milestone of the exhibition Come di marks the moment when the artist produced his final series of gelatin silver prints, after which he adopted digital technology in the creation of his images. Working in the studio, Molder stages a character—or multiple variations of one—that remains largely abstract and inscrutable: 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 the artist has repeatedly stated over the years, self-representation in these images is not synonymous with self-portraiture.