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In “Someday I will lose you,” the artist confronts the realization that a short-term arrangement had gradually become his new reality: a decision he approached with the lightheartedness of youth and little thought for the future.",[],{"_key":834,"_type":327,"children":835,"markDefs":839,"style":335},"44ed57c00ec6",[836],{"_key":837,"_type":331,"marks":838,"text":602},"0ce2530ad1010",[],[],{"_key":841,"_type":327,"children":842,"markDefs":847,"style":335},"6539d699a0aa",[843],{"_key":844,"_type":331,"marks":845,"text":846},"db8586e366cc0",[],"The photographs form an album of the artist’s returns home. His mother arranges flowers in a vase; her nails soak in a bowl of water; an outdoor table is laid beneath a pink, lace-like cloth gently lifted by the wind. The images dwell on fragments of domestic life – small, seemingly inconsequential gestures that nevertheless reveal aspects of a world that continues to exist without the artist. 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To the touch, the bar is hard, made from vitreous enamel: a glass-like coating produced by fusing powdered glass onto metal.",[],{"_key":864,"_type":327,"children":865,"markDefs":869,"style":335},"2a80eff8bd72",[866],{"_key":867,"_type":331,"marks":868,"text":602},"1409aca6efe30",[],[],{"_key":871,"_type":327,"children":872,"markDefs":877,"style":335},"cb22fb593df2",[873],{"_key":874,"_type":331,"marks":875,"text":876},"8ac20f80292b0",[],"This tension between appearance and substance runs throughout the whole series. Familiar symbols of childhood are tinged with subtle hints of discomfort: a life-size toy horse slightly too small to comfortably hold an adult; the artist resting his head on his mother’s lap, his back turned to the viewer; a burning dollhouse. 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He found himself feeling what the media’s portrait had denied him before: compassion for the then 25-year-old metalsmith and father of two who, already long struggling with alcoholism, was responsible for his sister’s death.",[],{"_key":1831,"_type":327,"children":1832,"markDefs":1836,"style":335},"2a09e6dd0d43",[1833],{"_key":1834,"_type":331,"marks":1835,"text":602},"30623f512d210",[],[],{"_key":1838,"_type":327,"children":1839,"markDefs":1844,"style":335},"be59c3c5d0fd",[1840],{"_key":1841,"_type":331,"marks":1842,"text":1843},"957227b197db0",[],"Published by Kult Books, with design by Camilla Marrese, Henri Airo, and Janne Riikonen, “Probable Cause” pieces together witnesses' statements through archival research and photographic re-enactment to unpick that distortion – the media’s flattening of tragedy into sterile spectacle, designed to agitate the audience while steering it clear of any structural awareness.",[],{"_key":1846,"_type":327,"children":1847,"markDefs":1851,"style":335},"b065d1df2a4c",[1848],{"_key":1849,"_type":331,"marks":1850,"text":602},"0d80049379130",[],[],{"_key":1853,"_type":327,"children":1854,"markDefs":1859,"style":335},"80dcc99bba2b",[1855],{"_key":1856,"_type":331,"marks":1857,"text":1858},"dc4f6f317eef0",[],"“I am recreating scenes from the report,” he writes, “to construct a visual representation of a side of the story that I feel was left out of this discussion”.",[],{"_key":1861,"_type":327,"children":1862,"markDefs":1867,"style":335},"36cbe893c5d2",[1863],{"_key":1864,"_type":331,"marks":1865,"text":1866},"f0d9d213d8dd0",[],"The words come from an email Airo sent in 2020, whose transcript opens the book. 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Barbato chose this image, of Mary in juvenile detention, after noticing that she, Mary, and their third sister all share the same stance, sealing the book in a love pact between them.",[],{"_key":2447,"_type":327,"children":2448,"markDefs":2452,"style":335},"5a27f734d086",[2449],{"_key":2450,"_type":331,"marks":2451,"text":602},"f30dd5f8130c0",[],[],{"_key":2454,"_type":327,"children":2455,"markDefs":2460,"style":335},"dd48c87ce691",[2456],{"_key":2457,"_type":331,"marks":2458,"text":2459},"268421815d400",[],"In this sense, both books read as a kind of pact to me. Of all the themes “Probable Cause” and “Tua Sorella” share, what strikes me most is the concept of refusal – not of death itself, but of the generalisations that may come with it. Airo refuses the convenience of calling his sister’s death an “accident, whereas Barbato refuses invisibility, pasting her sister onto walls and prayer cards until Mary, who died feeling unseen, cannot be missed. 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