Psychoanalyst and photographer Joanna Andraos explores the spheres of the intimate and the collective, the narration of affects and their representations. Upon the August 4th Beirut explosion in 2020, multiple of Joanna Andraos’ Cibachrome prints from her 2005 exhibition “Runa”,hung on the walls of her house in Achrafieh, Beirut, were damaged. The already fragile Cibachrome prints, produced through a now- rare photographic technique of layering Ektachrome slides and treating them with a combination of bleaching, heat, and cooling, suffered the removal of parts of their upper layers, or “skins”,by the blast, rendering them bruised, opened, dissected, and exposed. This removal in itself carried a new layer of memory, violence, and echoes of war and injustice. The original work featured the merging of thin films, images of various post-civil-war Beirut walls, onto theatrical portraits of two women, evoking figures of iconography, akin to quasi-atemporal Greek deities. It reflected the walls of Beirut as memory ruins, hosting these characters, making them alive, as if in a state of metamorphosis. Beyond memory, walls represent intimacy and privacy; they protect what refuses to be revealed. On the day of the blast, just like the walls outside were toppling and shattering, the walls within the images also crumbled. With them, the inner worlds of the prints were surgically shaken and altered, rendering them more agitated than ever. We are left with the partially damaged walls inside the prints, now burdened with new, heavy layers of loss, violence, and denial of justice. Fatima Berro, writer/journalist: excerpt of the text written after our dialogue, November 2025.