We move through the world in a state of grace, leaving an invisible ghostly trail of our passing. We move through an ever-changing world, and believe that the snapshots we take form the full reality of our experience. However, the demarcation between Heraclitus’ ever-changing river and the contained self that steps into it is only a concept rooted in self-preservation; we, too, are ever-changing.
Panta Rhei is an effort to collapse the four-dimensional trails of the passing human form into a two-dimensional object – a record, as it were, of the march of time. Using professional dancers as subjects, the resulting exposures, which are made entirely in-camera and do not use compositing techniques, echo Mannerist aesthetics with the human form as paintbrush, and light as paint.
