Anything, but Transparent is a tongue-in-cheek title extracted from Massot’s writing on photography, and a reference to the dominant exhibition material – 35mm transparent positives, commonly known as slides. Selected from thousands of dis- carded slides, the multiple projections are set within music composition made by sound artist Chong Li-Chuan who responds to Massot’s practice and his love for Roxy music. Running parallel on the wall is Massot’s early work Pillar (1991) brings back the ephemeral nature of image and time passes.
The exhibition invites curious minds to reconsider images as fragments of memories and to embark on a journey of serendipity or a mysterious one in time and space encapsulated within photographs. Set within the room are over 1000 rejected 35mm slides which the audience is invited to browse and to create your own visual composition on the transparent holders.
As part of