Overlappping DurationFri August 15 2025
This installation refuses the single, frozen instant. Each image is built from multiple in-camera exposures on black-and-white film: the figure returns to the same frame—breathing, shifting, pausing—so small movements settle on top of one another. What’s left isn’t a decisive moment, but the traces of repeated actions.
Henri Bergson’s idea of duration guides the method: time here is a lived continuum rather than a line of separate points. The overlays register that continuum on one surface—densities thicken where gestures repeat; elsewhere the form loosens to haze. Blur is not error, but time made visible. The wall arrangement extends this logic. Three prints at varied scales are spaced with brushed aluminum and a small mirror insert; these elements slow the eye, fold the room’s light into the image, and bring the viewer’s reflection into play so the present coexists with the past.
The work sits within expanded photography, where the photograph is not only a picture but an installation that choreographs how bodies move and look. It also joins current debates on memory as practice: rather than treating memory as an archive of fixed facts, the piece treats it as shared, embodied negotiation in real time. As you approach, highlights slide, shadows recompose, and the figure seems to gather or thin—your movement completes the image.
If photographs can hold duration rather than stop it, how do we look differently?