Situated at the liminal threshold where the material meets the invisible, my artistic practice examines how time, transition, and memory take shape. Through a continuous, cyclical of action, reflection, and transformation, this installation investigates the ways histories become static, dissolve, and ultimately reform.

The project originated from a spontaneous return to my roots. Documenting my former neighborhood via video, audio, drawings, and text, I confronted the fluid friction between time and recollection. This exploration emphasizes that memories do not exist in isolation; they echo across eras. For instance, a personal holiday photograph of Céret, France, later revealed its visual twin at the Louisiana Museum in a painting by Chaïm Soutine—who had captured the very same town decades prior.

Operating outside traditional, text-heavy narratives, Surface of Time adopts curation and spatial imagery as its primary vocabulary. Influenced by Aby Warburg’s concept of the Bilderraum (image space), the work maps non-linear connections on visual panels to reveal how memory-motifs reappear and shift. By layering and distorting plexiglass, light, and projection, these fleeting archival fragments are reconstructed into tangible, three-dimensional structures, inviting the viewer to stand on the edge of the frame.

Plexiglas, projection
Approx. h 300 x w 300 to 20 cm
2026