A note on the work

            These works were made across a decade, in a studio-laboratory, long before any single question was placed over them. What holds them together is a method rather than a subject: I build instruments — and, at larger scale, architectures — that do not depict an invisible phenomenon but create the conditions under which it manifests itself. Radiation, a frequency, electricity, a magnetic field, light, sound: each is imperceptible in itself, and becomes legible only through the trace it leaves, the body it is given, or the space it reorganises.

             A few structures recur. Almost every piece is organised around an invisible centre and the field of forces that seems to radiate from it. Almost every piece begins in private necessity and only later becomes a public work, so that making is also a passage — building the enclosure in order, finally, to step outside it. And two axes run beneath everything: scale, where I work at the edges the body cannot register — the microscopic and the monumental — until they grow difficult to tell apart; and time, which quietly undoes everything it touches.Perception is the persistent undercurrent. I return, without deciding to, to what our eyes let us reach and what they keep from us.