http://thresholdsofperception.com
Thresholds of Perception brings together three distinct bodies of work that challenge the limits of seeing. Through layered photographic processes, sculptural interventions, and material dislocations, the artists invite viewers to slow, consider, and dwell in newly-articulated visual spaces: those between clarity and distortion, presence and erasure, perception and revelation.
In Distorted Flesh, Sally Buck commits contested botanicals to layered refractions using water, glass, and lenses. Foregrounding the body as both a site of pleasure and a subject of political forces, the project takes its cue from feminist phenomenology. The resulting glitchy imagery—born of light rather than code—resists prescribed objectivity, offering instead a deeply subjective and sensorial field of vision.
The Secret Keepers shows Shelagh Howard’s care to map the hidden terrain of intimate partner violence through an intentionally grueling, seven-stage, photographic process. Integrating techniques as varied as long exposure, tintype, and silver printing, the work holds and mirrors cycles that index those of abuse and survival. What remains visible is as important as what is lost—each obliteration and trace reflecting the erosion and reclamation of self.
In Trinity, time becomes elastic. Combining imagery of human forms, objects, and scenes in both positive and negative, Horst Herget has built freestanding sculptures using printed plexiglass and photo-exposed wet plate. These invite viewers to move through, around, and within their captured moments, perceptually constructing new ones. Rejecting the “decisive moment,” the work opens up a multiplicity of timelines where perception folds into perspective and back again.
Together, these works navigate and give form to interstitial zones—where image, body, memory and agency intersect. Thresholds of Perception asks not just what we see, but how we move through experiences of vision, and under what critical conditions.