Over the course of a year, Barbara Camilla Tucholski repeatedly visited an elderly woman in a nursing home, accompanying the final stages of her life through drawing.

Vangerin-Zyklus patiently traces the subtle transformations through which mortality begins to inhabit a body, a room, and the relations between objects. As the cycle unfolds, the figure gradually gives way to the surrounding space. The bed stands out. The chair, the bedside lamp, the window. The blossom of a hand. Death appears as a slow reorganisation of the visible world.

Vangerin-Zyklus stands as an extraordinary meditation on drawing's capacity to witness what remains resistant to language: through the changing logic of appearance itself.

See Also
The medieval Ars Moriendi understood dying as something to be learned. Not because death could be mastered, but because attention could.