The building was from 1972. It had been repainted at some point but the layers were thin enough that you could see the earlier colors through the current one — a kind of archaeological confession.
I placed the subject against the far wall not for compositional reasons but because that was where the light landed. The composition followed.
Old walls have memory. When a person stands inside that memory the photograph becomes a negotiation between eras. Who was here before. What they wanted. Whether they got it.
The subject told me afterward they felt strange during the session — observed by more than just the camera. I did not find that surprising.