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MISFITS
2024
Archival pigment prints
180 × 144 cm each


The photographic series Misfits unfolds at the intersection of time, materiality, and speculative fiction. Originating from the collection of the Musée national d’archéologie, d’histoire et d’art (MNAHA) in Luxembourg, the work brings together ceramic artefacts—produced by Villeroy & Boch in the twentieth century—that have long been withdrawn from everyday use. Preserved under strict protocols of conservation, these objects appear suspended in a fantasy of eternity, suspended outside the rhythms of decay and transformation. Situated between sculpture and image, these untouchable artefacts are freed from the constraints of the vitrine and reactivated in Misfits by being digitally reassembled into precarious, “impossible” stacks that could never take shape in physical space: fragile towers that defy gravity, material logic, and historical function. Handles, rims, curves, and fractures meet at points of implausible tension, forming fictional sculptures within the image. At first glance, the compositions appear seamlessly balanced; only upon closer inspection does their instability reveal itself. The large-scale photographs deliberately refuse to conceal their constructed nature. Slight perspectival inconsistencies and improbable alignments undermine claims of objectivity, turning the austere language of archival studio photography against itself. In doing so, Misfits deconstructs the authority of the archive and disrupts the museum’s promise of permanence, exposing preservation itself as a constructed fiction rather than a neutral act. History is not presented as stable or linear, but as a fragile suspension in which collapse and reconfiguration remain equally possible.




︎ Archive Photography