/outcome n development/
The exhibition functioned as a live testing
ground for translating subjective time into
shared material form.
It further expanded my practice from individual
perception toward collective temporal
awareness, laying the groundwork for future
projects that explore participatory structures
and cross-linguistic listening as methods of
relational inquiry.
/method n material/
The installation operates as a temporal field
rather than an object.
Sculptural Installation
The central installation consists of suspended
layered felt forms.
Varying in thickness, density, and edge,
the forms suggest time as accumulation and
sedimentation rather than progression.
Felt — as a compressed, tactile material,
becomes a metaphor for layered duration
and embodied memory.
Sound Component
The sound work is composed of multilingual
recordings of participants
counting in their own languages and rhythms.
Layered and alternated, these recordings shift
counting from a numerical act to an auditory
field of breath, accent, hesitation, and cadence.
The piece foregrounds temporal difference as
relational texture.
Participatory Element
Visitors are invited to listen, count, pause,
and mark a moment of stopping
within the space. In exchange,
they receive a small hand-made felt card.
This exchange transforms the exhibition
from static presentation into a shared
temporal condition, where attention itself
becomes the medium.
/in the shape of time/
solo exhibition
AMP Gallery, London, 2026
This project extends my long-term exploration of perception and relational experience
through two intertwined dimensions:
Internal Time
The work examines how subjective tempo —
emotional pacing, hesitation, or perceived delay —
shapes one’s experience of the present.
Relational Time
It further investigates how time shifts between individuals:
how encounters can compress, stretch, or suspend duration depending on listening, proximity, and shared focus.
Through this dual lens, the project asks:
How can internal temporal experience be translated beyond language?
How does time transform when it becomes collective rather than solitary?
This project extends my long-term exploration
of perception and relational experience
through two intertwined dimensions:
Internal Time
The work examines how subjective tempo —
emotional pacing, hesitation,
or perceived delay —
shapes one’s experience of the present.
Relational Time
It further investigates how time shifts between
individuals:
how encounters can compress, stretch,
or suspend duration depending on listening,
proximity, and shared focus.
Through this dual lens, the project asks:
How can internal temporal experience be
translated beyond language?How does time transform when it becomes
collective rather than solitary?
This project extends my long-term exploration of perception and
relational experience through two intertwined dimensions:
Internal Time
The work examines how subjective tempo —
emotional pacing, hesitation, or perceived delay —
shapes one’s experience of the present.
Relational Time
It further investigates how time shifts between individuals:
how encounters can compress, stretch, or suspend duration depending
on listening, proximity, and shared focus.
Through this dual lens, the project asks:
How can internal temporal experience be translated beyond language?
How does time transform when it becomes collective rather than solitary?
/research focus/
The installation operates as a temporal field rather than an object.
Sculptural Installation
The central installation consists of suspended layered felt forms.
Varying in thickness, density, and edge,
the forms suggest time as accumulation and sedimentation rather than progression.
Felt — as a compressed, tactile material,
becomes a metaphor for layered duration and embodied memory.
Sound Component
The sound work is composed of multilingual recordings of participants
counting in their own languages and rhythms.
Layered and alternated, these recordings shift counting from a numerical act
to an auditory field of breath, accent, hesitation, and cadence.
The piece foregrounds temporal difference as relational texture.
Participatory Element
Visitors are invited to listen, count, pause, and mark a moment of stopping within the space.
In exchange, they receive a small hand-made felt card.
This exchange transforms the exhibition from static presentation into a shared temporal condition,
where attention itself becomes the medium.
The installation operates as a temporal field rather than an object.
Sculptural Installation
The central installation consists of suspended layered felt forms.
Varying in thickness, density, and edge,
the forms suggest time as accumulation and sedimentation rather than progression.
Felt — as a compressed, tactile material,
becomes a metaphor for layered duration and embodied memory.
Sound Component
The sound work is composed of multilingual recordings of participants
counting in their own languages and rhythms.
Layered and alternated, these recordings shift counting from a numerical act
to an auditory field of breath, accent, hesitation, and cadence.
The piece foregrounds temporal difference as relational texture.
Participatory Element
Visitors are invited to listen, count, pause, and mark a moment of stopping
within the space.
In exchange, they receive a small hand-made felt card.
This exchange transforms the exhibition from static presentation into a shared
temporal condition, where attention itself becomes the medium.
/method n material/
in the Shape of Time
is a research-based installation exploring how
time is experienced as relational and embodied
rather than linear or measurable.
Developed from my ongoing inquiry
into non-verbal communication,
the project investigates how internal temporal
sensations — such as delay, anticipation,
hesitation, or suspension —
can be translated into material, sound,
and shared experience.
Rather than presenting time as chronology,
the exhibition considers time as something
layered, negotiated, and co-constructed
through attention and interaction.
in the Shape of Time
is a research-based installation exploring how
time is experienced as relational and embodied
rather than linear or measurable.
Developed from my ongoing inquiry
into non-verbal communication,
the project investigates how internal temporal sensations —
such as delay, anticipation, hesitation, or suspension —
can be translated into material, sound, and shared experience.
Rather than presenting time as chronology,
the exhibition considers time as something layered,
negotiated, and co-constructed through attention and interaction.
/about the project/
/about the project/
In the Shape of Time continues my broader inquiry into relational perception,
following Texture of Communication and preceding my current research into intersubjective interval.
In the Shape of Time continues my broader inquiry into
relational perception, following Texture of Communication
and preceding my current research into intersubjective interval.
/closing note/
In the Shape of Time continues my broader
inquiry into relational perception, following
Texture of Communication and preceding
my current research into intersubjective interval.
The exhibition functioned as a live testing ground for translating subjective time into shared material form.
It further expanded my practice from individual perception toward collective temporal awareness,
laying the groundwork for future projects that explore participatory structures and cross-linguistic listening
as methods of relational inquiry.
/outcome n development/
The exhibition functioned as a live testing ground for translating
subjective time into shared material form.
It further expanded my practice from individual perception toward
collective temporal awareness, laying the groundwork for future projects
that explore participatory structures and cross-linguistic listening
as methods of relational inquiry.
This project is part of my narrative work series.
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