Emerging directly from the artist’s practice, the exhibition’s title ties a paradox. Dust – quantifiable yet defying the order of measurement – becomes at once the first and last trace, origin and remainder. A minimal unit of inhabitation, a frictional indicator of an event that resists closure, dust here is matter in suspension, active and unresolved. Each particle reconfigures what it touches into a spatial-temporal knot, vibrating across unstable durations and transforming chronology into a field of overlapping rhythms.
Presenting major works from recent years alongside site-specific interventions, the exhibition alters the architectural fabric of the Twin Galleries. At its core, a new commission, reproducing at full scale the floor of the artist’s family home, operates as a field of spatial memory, setting the rhythm of displacement and re-composition. Embroidered partitions and reopened apertures generate spatial shifts; temporal calligrams transcribe the drift of seconds and minutes into an architecture of granular time; scraps of discarded paper conjure the entropy of the everyday – a tentative effort to salvage and reassemble what slips away. Through an unfolding of crossings, asymmetries, and intentional misfits, the works interfere with the memory of the Sursock house and with the artist’s own domestic dislocations, manifesting a precise yet phantomatic intensity.
Echoing the lived experience of repeated ungroundings and reconstructions, these gestures play with the persistence of fragments, always in motion, evading capture and erasure. No narrative emerges intact. The exhibition itself becomes a thought experiment in disjointed temporalities, recurrence, and material transmutation. (AD)
