All that I See #23
Cursive Fire explores the intersection of elemental energy and gestural mark-making through long-exposure photography. By capturing the temporal trajectory of flame, these images transform ephemeral combustion into luminous calligraphic traces that exist between documentation and abstraction.
The series investigates fire as both subject and medium—a light source that writes itself through time and space. Through extended exposure, the camera becomes a recording device for movement rather than a freezer of moments, revealing choreographies invisible to the naked eye. The resulting images bear an uncanny resemblance to East Asian cursive scripts, where spontaneity and control, chance and intention, exist in delicate balance.
This work interrogates the boundaries between photography and other artistic practices—drawing, painting, performance. The flame acts as an autonomous brush, its gestures governed by physics yet appearing remarkably sentient. The swirling trajectories evoke the concept of qi (气), the vital energy that animates both fire and the calligrapher's hand, suggesting a universal language of energy and motion that transcends cultural boundaries.
Cursive Fire belongs to a broader investigation into the photographic potential of traditional East Asian artistic materials and processes. Where conventional photography captures form, this work captures force—not the flame itself, but its movement through time, its energy made visible. The images oscillate between chaos and order, between the primal and the refined, inviting viewers to contemplate the relationship between control and surrender, permanence and impermanence, light and its afterimage.
The series investigates fire as both subject and medium—a light source that writes itself through time and space. Through extended exposure, the camera becomes a recording device for movement rather than a freezer of moments, revealing choreographies invisible to the naked eye. The resulting images bear an uncanny resemblance to East Asian cursive scripts, where spontaneity and control, chance and intention, exist in delicate balance.
This work interrogates the boundaries between photography and other artistic practices—drawing, painting, performance. The flame acts as an autonomous brush, its gestures governed by physics yet appearing remarkably sentient. The swirling trajectories evoke the concept of qi (气), the vital energy that animates both fire and the calligrapher's hand, suggesting a universal language of energy and motion that transcends cultural boundaries.
Cursive Fire belongs to a broader investigation into the photographic potential of traditional East Asian artistic materials and processes. Where conventional photography captures form, this work captures force—not the flame itself, but its movement through time, its energy made visible. The images oscillate between chaos and order, between the primal and the refined, inviting viewers to contemplate the relationship between control and surrender, permanence and impermanence, light and its afterimage.
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