These acrylic photosculptures began in the garden during my Swatch residency…

These acrylic photosculptures began in the garden during my Swatch residency — not as pictures, but as moments of observation. Small studies of breath, shadow and stillness. In Beijing, those fragments were pushed further in the studio: layered, re-worked, and hardened into acrylic until they became their own objects, holding both the image and the environment that shaped it.

Seeing them uncrated in Shanghai was a reminder of what this series is actually doing. The pieces don’t behave like photographs. They pull in the room, distort it, and fold it back into the original moment. They sit somewhere between landscape, memory, and interference — a kind of physical “trace” where the captured world and the present world collide inside the material.

This direction is new for my practice, but it feels honest. It extends the questions I’ve been working on for years: how an image carries time, how a surface can hold uncertainty, and how the natural world can be translated through materials that are anything but natural.

Thank you to the team for handling the works with real care and getting them safely into the space. The short video shows part of the install before the fair opened — a quiet moment before the noise.

This post included a video. Watch it on LinkedIn.