It has been said by Heraclitus that we cannot step at the same river twice. The Buddhist concept of annica expounds on the human condition as inherently impermanent. If the essence of life is change, what is now the significance of capturing its moments and arresting its intransience? What is this existential desire of the human soul to craft into some-thing something that resembles the vastness of experience?
This quintessential cosmic inquiry on flow and form is heightened when one resides, if not inquires, in the middle point of ephemerality and permanence. Movement (flowing form), either geographically (material mobility) or in the mind (immaterial thought), then becomes a site of reflection and observance. The concern is not anymore the complex analytical investigation of the world but simply being in and with the process of the world as it actualizes itself into coherence.
To show objects of beauty and power from an image of a person, an encounter, a memory or a dream does not necessarily remove the object from its context, for it re-presents into presence the entire occurrence of the past converged with the strings of possibilities in the future. These works and pieces are conscious of the Now. There is an awareness of this nowness that becomes transmuted to newness.
Having strong impressions of a transhumanist future, the possibility of an evolved humanity is held in objects that also contain all the information of the past. In this sense, holding does not cage the observed but liberates the observation of the observer, as it attempts to grasp that of which is ungraspable.