Artist Craig Jun Li's solo exhibition features collagist wall-works and installations that deconstruct photographic technology. Works like the 2025 silicone sheets incorporate altered dye-transfer prints, Polaroids, and actual camera parts like SX-70 film cartridge springs, redirecting focus from pictorial representation to the mechanical apparatus of image-making.
The exhibition matters because it critically engages with the material history of film photography in a digital age. By physically scrapping cameras, inventing elaborate processes, and assembling ephemera like expired Kodak paper, Li creates an allegory about preservation and the inherent instability of analog materials, posing a poetic form of 'holding on' against seamless digital circulation.