Zad Moultaka’s obsessions include that of erasure and disappearance. Everything is a pretext for a form of reflection, or rather a reverie, on substance, its deterioration, its fraying, its crumbling.
In Estompe the sound matter is treated in successive layers, like in engraving, the repeated passage of several sheets under the same press that would not have been relined and until the ink is exhausted. The impression would repeat the motive and its decay.
Between memory and oblivion, loss and traces, four passages like four screens of memory. The sound images of the past survive transformed, nuanced to the minute and undetectable. The absence then saturates the disintegrated presence.