Interference is a composition of hanging photographs that are fused and melted into glass. The photographs are mysterious formations of undulating surfaces and glitching renderings, embedded in molded transparent and white glass. The images are screenshots taken from 3D scans of transparent, reflective, iridescent, or porous sculptures made by the artist. Because these particular surfaces change depending on the viewing position, they contain a multiplicity of potential that the scanner fails to capture. Shimmering iridescence turns into strange scaly, cascading forms; transparency is invisible; porousness morphs into pixelated; reflection remains as a modelling mesh. The photographs are moments of failed translation from physical into digital, where the scanner falters, and the material resists legibility in a moment of simultaneous fusion and fission.

These images, coming from a place of digital rendering, are positioned in their material form within molded glass. Microscopic photographs of camouflaged surfaces are imprinted into the glass: the transparent pattern from the glasswing butterfly, or an opals nanostructure, all quietly mediate the images sitting beneath them as they form the exterior membrane of the glass thresholds.

This emphasis on surface is essentially a meditation on boundaries. Where does the physical, and where does the digital find their moments of separation? Where is public, and where is private with social networking, data, and online consumerism? Are screens boundaries or portals between lifeworlds? Perhaps these dichotomies are so enmeshed, these distinctions are no longer applicable.

“(…) it has become clear that images are not objective or subjective renditions of a preexisting condition, or merely treacherous appearances. They are rather nodes of energy and matter that migrate across different supports, shaping and affecting people, landscapes, politics, and social systems.” - Hito Steyerl