-ing
When an adjective settles into its -ing form, it signals an action held open—an ongoing presence. In my darkroom, photographic paper enters that same tense: no longer a neutral support, it becomes a living membrane, finely tuned to every brushstroke of chemistry and pulse of light. Form surfaces the way a verb stretches toward its participle—forever unfinished, forever be-coming.
Here, light negotiates with matter as thought does with the body, tracing faint co-ordinates through a luminous fog. Rather than describe a place, the work stages a lingering—an -ing— a sustained unfolding where vision slows and the image continues to happen long after the eye has closed.