Stereoscope

A stereoscope sits in the case, awkwardly tilted with the handle jutting at an angle. Made of yellowed wood and tarnished metal, the stereoscope consists of a mask-like aperture with two eye-holes. In front of the eye-holes, a sliding metal rack is fitted to a long flat wooden rod; the carved wooden handle protrudes beneath.

There is a deck of stereographs in the metal rack. Most are old and sepia-tone, adorned with logos, clearly printed for a mass commercial market, and depict such long-standing landmarks as the Colosseum. But several are in color, and judging by the bloopy shapes of cars and the proliferation of Starbucks and “SUVs” (sport utility vehicles) in the background, they were taken in the 1990s.

One such stereograph shows a young man whose distinctive nose and freckles resemble Corin’s own; he is pointing with both hands above his head at a sign that says “MAX HEADROOM.”

Mixed in with the stereographs are several four-in-one photographs that appear to have been taken with a Lomo camera. The same young man appears in a four-in-one shot, sliding down a metal railing that lines a flight of stone stairs.

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