Collection: Life Between

The exhibition is anchored by Isabelle Parson’s suspended vegetal worlds. Her photographs, taken in abandoned greenhouses, reveal spaces where life persists even as it falters. Collapsing leaves, motionless insects, humidity suspended in air — each image inhabits a state between being and disappearing. In these sites of slow decay, light becomes a living substance, and the vegetal world seems to hover in fragile equilibrium. Parson establishes the existential depth that permeates the exhibition — a quiet gravity where life and decline coexist in tension.

Vanessa Yanow extends this gravity into the realm of the body. Her textile assemblages — sleeves, gloves, soft architectures — evoke ghostly gestures, arms that reach, hold, or testify to absence. Touch becomes a language, an invisible bond, a memory held in material. Her works embody the presence of the body where it is no longer, a corporeal extension of the existential threshold opened by Parson.

Carolina Magis Weinberg explores time itself as a liminal state. Her confettïi — caught mid‑fall, embedded in matter, or reimagined through image — inhabit the precise moment between ascent and descent. They capture the afterglow of celebration: the vibration of an instant fading, color lingering, joy becoming memory. In her works, time suspends, as if each fragment refused to touch the ground.

Hea R. Kim brings a fantastical and playful dimension to the constellation. Her hybrid ceramic forms — part creature, part ornament, part myth — play with heritage, transformation, and humor. They inhabit a space where tradition is reinvented, where identity becomes a body in metamorphosis. In their joyful strangeness, these sculptures open a threshold where the real and the imaginary meet.

Together, the four artists trace a continuum of transformation: existential, corporeal, temporal, mythic. They reveal how bodies — human, vegetal, textile, celebratory, or hybrid — take shape through vulnerability and the porousness of the material world. The exhibition invites viewers to dwell in these liminal spaces where matter listens, gestures persist, time suspends, and forms reinvent themselves.

And when the gaze returns to Parson, something remains: a trembling light, a held breath, a world continuing to exist in the in‑between.