Siew Guang Hong
 

radiation fragments and rearranges spider crab collages into an infinitely flipping flexagon sequence. In its irrational folds and multiplications, the digital form ruptures from our familiar perception of an organised animal—emphasising on the transformation of an image rather than what it sets out to represent.

In format, the physical flexagon escapes into incorporeality; where it is rigged to move fluidly and at a consistent pace without wear. The darkroom prints in becoming (2023 – 2024) and radiation mirror each other in their anachronistic translation. The collages are made in digital space and are translated back into analogue form in both darkroom prints and the physical flexagon. The flexagon is then translated back into digitality; reflecting the ebb and flows of evolutionary immanence.