




Under Pressure. ΔS — Orders of Glass.
The title Orders of Glass can be read in several ways. It refers to orders for glass—the purchases and supply chains through which sand, minerals, and materials move across the world—and to orders made of glass: the fragile structures through which we attempt to organize and make sense of the material world. The exhibition moved between these readings, asking how we arrange matter and how matter, in turn, resists or exceeds the structures we impose upon it.
Developed in 2026 at the invitation of curator Bettina Siegele, Orders of Glass brought together photography, drawing, and a spatial assemblage, with contributions by artist Rozafa Elshan. Through acts of framing, arranging, repetition, reflection, and distortion, I explored how the camera shapes our encounter with the material world, and how our ways of seeing are informed by assumptions about what we consider natural, technological, useful, or worthy of attention.
The exhibition also turned towards the largely invisible materiality of the digital world, bringing silicon wafers and materials such as molybdenum into view as physical conditions of the technologies through which digital images are produced.


The assemblage includes quartz sand, wool felt, sulphur, blank silicon wafers and wafer fragments, molybdenum powder and molybdenum supplement capsules, dried flowers, disposable wipes, wooden sticks, beads, photomasks used in DUV photolithography, stones, and photolithographically patterned 12-inch silicon wafers. The photolithographically patterned 12-inch silicon wafers were provided on loan by Infineon Technologies Austria AG and returned after the exhibition.





Under Pressure. ΔS — Orders of Glass.
The title Orders of Glass can be read in several ways. It refers to orders for glass—the purchases and supply chains through which sand, minerals, and materials move across the world—and to orders made of glass: the fragile structures through which we attempt to organize and make sense of the material world. The exhibition moved between these readings, asking how we arrange matter and how matter, in turn, resists or exceeds the structures we impose upon it.
Developed in 2026 at the invitation of curator Bettina Siegele, Orders of Glass brought together photography, drawing, and a spatial assemblage, with contributions by artist Rozafa Elshan. Through acts of framing, arranging, repetition, reflection, and distortion, I explored how the camera shapes our encounter with the material world, and how our ways of seeing are informed by assumptions about what we consider natural, technological, useful, or worthy of attention.
The exhibition also turned towards the largely invisible materiality of the digital world, bringing silicon wafers and materials such as molybdenum into view as physical conditions of the technologies through which digital images are produced.


The assemblage includes quartz sand, wool felt, sulphur, blank silicon wafers and wafer fragments, molybdenum powder and molybdenum supplement capsules, dried flowers, disposable wipes, wooden sticks, beads, photomasks used in DUV photolithography, stones, and photolithographically patterned 12-inch silicon wafers. The photolithographically patterned 12-inch silicon wafers were provided on loan by Infineon Technologies Austria AG and returned after the exhibition.