On 20 July 2025, walking home from [Edgar] Degas' Obsession, I saw a moth.

The encounter has since become a lens for thinking about the temporal displacement inscribed within Degas’s Dancers Practising in the Foyer, a work whose material stratigraphy, as conservation analysis indicates, comprises up to fourteen paint layers accrued over nearly three decades of revision, scraping, overpainting and addition.

Also see:
The Flora Excursoria Hafniensies Series.