Slow is good

This work emerges as a soft rupture within the habitual tempo of our contemporary lives; not as an escape, but as an interruption. It explores slowness not as a passive state, but as a deliberate and shared gesture: a refusal to participate in the high demand for movement, attention, productivity, and clarity. In this pause, space opens for a different kind of attention; one that is attuned to visual sensation, and the subtle shifts that often go unnoticed.

Rather than offering resolution or narrative, the work lingers in ambiguity. It invites viewers to inhabit a slowed temporality where nothing needs to be achieved other than letting the eyes follow. The visual stimulation is not a call to consume, but to dwell, to become porous to light, colour, form, and stillness. This is not about rest as retreat, but rest as a practice of recalibration, of being together differently. In stopping, the work does not break the flow so much as reveal its architecture — its assumptions, its pressures — and proposes a quiet, collective reorientation.

In an existence characterized by the rapid dissemination of information and the cultivation of short attention spans, encountering a work of art that demands stillness and patience poses a considerable challenge for passersby. The effect is to evoke a sense of timelessness, causing the boundaries between beginning and end to become indistinct. This process may evoke a sense of unease, with the potential to challenge one's relationship to time, attention, and the very nature of art itself.