23/06/2026
The exhibition quietly came to an end last weekend, and I dismantled it on Saturday.
Over the past month, Where Roots Take Hold lived inside the ruins of Sung’s Mansion in K*k Po, an old house slowly being reclaimed by a banyan tree and the surrounding ecology.
One of the biggest challenges was simply how to exhibit photographic work in a largely outdoor environment. In conventional exhibitions artworks are often protected, stabilised, and presented as cleanly as possible. Here I eventually decided to work with the site rather than against it, and to embrace whatever might happen along the way.
Each time I returned, I discovered something new. The paper curled and warped. Mould slowly appeared on the prints. Woodlice, spiders, snails, and other small lives moved into and around the frames. A layer of mist came and went as the rainy season developed. Meanwhile, the vegetation seemed different every time. The banyan continued its quiet work, gripping walls, wrapping itself around structures, and gradually reshaping the space.
Much of the project was concerned with the idea of framing nature: through landscape, through botanical glasshouses, through photography, and through the architecture of the ruined house itself. Yet throughout the exhibition, I was constantly reminded that nature can never be fully framed. It exceeds our boundaries, escapes our narratives, and continues to transform the things we place before it.
What surprised me most was how much I appreciated watching the work leave my hands. Over time, it felt as if the exhibition had developed a life of its own.
For those who missed it, I’ll be sharing more photographs, videos, and field notes from the project over the coming weeks 🌿
Finally, thank you Duncan the curator of the project, for everything.
Thank you to for the years of research, and work that made this project possible, and to .vision for allowing me to situate the work within their conservation project. 🙏🏼
