What is a person's life actually for, when work no longer provides the answer?
More people than ever are stepping outside the structures that once defined who they were. Some by choice, some not. As automation accelerates this shift, the question of purpose, once postponed by the rhythm of work, becomes harder to avoid.
The Lighthouse: Life After Work paints a person facing the question of purpose, with nothing external to answer it for them. What's left is the strength it takes to hold yourself together.
The methodology is its own argument: old photographs become paintings that belong to no time at all.
The visual references for each painting come from vintage photographs and silent cinema stills, primarily from the beginning of the 20th century.
These are people who existed before the digital economy, before the pressure to be constantly productive, permanently available, publicly visible. They suggest a different way of being present.
Removing these figures from their original context and placing them outside any identifiable time is not nostalgia. It is a way of using the past to see the present differently.
