A photography project that captures the universal language of connection through touch. In a world often divided by differences and warnings, hands become bridges—reaching out, meeting, supporting, and holding. This series portrays the act of coming together, with hands of diverse backgrounds intertwining in gestures of unity, solidarity, understanding and a hint of fear.
Each image tells a silent but profound story—fingers not interlocked, yet showing a desire to connect in shared purpose, palms resting together in quiet reassurance, fists joining in collaboration, but still holding back slightly. Whether in moments of greeting, offering, or comfort.
Bodyline highlights how the human hand often becomes the ambassador of connection. By focusing on hands as symbols of togetherness and a tool for gauging, this project invites viewers to reflect on the functionality and identity of our hands and the limitations we impose on it through aesthetic evaluation.
Santiago Sierra’s art often includes marginalized groups of people such as immigrants, sex workers, asylum seekers, and people with low incomes. The artist usually hires them to do menial and uncomfortable tasks like sitting in a box during an exhibition for several hours, getting their naturally dark hair dyed blond, or having a line tattooed on their back for payment. Santiago Sierra’s work commonly references topics like social inequality, capitalism, morality, and labour. The work shown above by Sierra inspired me more because I was a professional tattoo artist at the time and the visuals made me question the nature of skin, and it’s role in most societies.
The aesthetics of air relates to my work in a lot of ways. Malte uses advanced technology to study the movement of air using lasers and smoke machines. The apparatus was setup inside an abandoned warehouse to utilize most the less hindered air movements within an enclosed room and blocked out light. The main commonality here is that it reveals a hidden side of our surrounding using technology and visual aesthetics.
In an empty, dark room in the Melbourne NGV this summer, I found dozens of people wandering around in circles looking at the lights on the floor. It was a digital simulation of the movement of water – like wading through phosphorescent pools. Visitors drag beams of light around with their feet while overhead an ambient, choral soundtrack plays. This work titled Moving creates vortices and vortices create movement is an installation of light and sound based on a digital model of the movement of water.
Sea Organ uses the tidal movements of the Adriatic sea to push sounds though resonant tubes. This group of installations requires no electricity, just the forces of nature for their soundings. The set of rectangular holes made into the topmost step is where the soundwaves would come out as they are pushed from underneath by the sea and the force of kinetic energy. This work is essentially similar to my own project it translates one form of energy into another perceivable form. This conversion of one state into another is an act enabling one’s imagination to become perceivable for others through an immersive experience. The enabling part is what I also wish to do with my works.
