Corry Goelst, Wilhelmina van Zijll de Jong en Henriëtte Wassink op een terras in Scheveningen 1932

This photo, of Corry Goelst, Wilhelmina van Zijll de Jong and Henriëtte Wassink on a terrace in Scheveningen, was made anonymously at some point. What I find interesting is the way the light is captured. It’s not just about recording what’s there, but about the process of seeing, or maybe framing a moment. The way the greyscale tones shift and blend, it reminds me of the way we perceive memories – softened, a little dreamlike. There's a tactile quality to it, even in its flatness. I mean, look at the fur stole, it looks almost like it could be peeling off the surface of the photo, or like you could reach out and feel the wool. The whole composition has this quality, a kind of stillness. And the way it's cropped and framed gives it a sense of intimacy, as if we are only being allowed to see a small part of a larger world. This makes me think of someone like Gerhard Richter, and his blurred photo paintings – both artists playing with the edge between representation and abstraction, inviting us to look closer. It's a reminder that art doesn't have to give us all the answers. It's about asking questions, and embracing the beauty of uncertainty.