With the project ‘Vistas’, an observational approach is taken to understand the discomforts and anxieties that reveals itself to the public in an ever-changing dynamic of the urban environment.

In ‘Symphony of the Flying Objects’, we see multiple cranes drifting in unison over London as if in a performance. There are moments when we catch glimpses of objects that resemble the belongings of past occupants. However, a contradiction is presented in this symphonic act as it contains no sound, instead calling for us to orchestrate our own. What we are offered instead is a form of Musica Universalis. The concept, born in ancient Greece, refers to the musical harmonies produced by celestial bodies, un-hearable to humans. The cranes in city’s skies, as Musica Universalis, allude to the sound frequencies and movement of time and change that we are un-perceivable to us.

What we see with the series ‘Flying Objects’ are scenes that have become so common in cities, that their ever-looming presence has become the background noise to daily lives. Taken in a ‘matter of fact’ manner, the precarious phenomenon seems to be amplified as it slowly waves its way across the sky. The choice to look up and frame the shot also acts as a way to de-contextualize the surroundings. These uncanny objects draw tension and unease from within us with their threatening presence, above us and following us from the sky. Perhaps it is not just what’s visible that drifts above us, but something unknown that has been extracted.

Similarly, in the series of lenticular prints (‘Flying Objects – Tenderten Street’), the viewer is allowed to manipulate the speed and direction of the moving image which dictates how the events unfold – although ultimately, we cannot change the outcome. As the cranes endlessly repeat its cycles, we are reminded of the repetitive nature of human history and the inevitability of the progression of time.

With the ‘Hammer/Buddha’s Hand’, a physical record of history can be seen violently beaten upon the structure of the relic. Once, part of an object revered as a guide to enlightenment, it transitions to the use as a hammer (thus the dents and marks), and then to an aesthetic object of historical value.

The series ‘Facade’  deals with the bizarre circumstance of cityscape building in London whereby the core of buildings is being demolished leaving only the facade. Veiled visions of mourning, these urban ghosts weep not a loss but celebrate their own state of transience. This series aims to provoke thought on where the essence of object’s really is – in their exterior or their core. Does an object lost its meaning when reduced to its façade? Facades invite us to fill their insides with ourselves. Greater effort is made to be able to keep the exterior, taking the inside down brick by brick and holding the exterior up with metal structures. What does the neglect to preserve the inside say about society?