Warped Space: Continuous Cities
Camera Cluj,  2025

These cities don’t sit still. They overwrite themselves — development, abandonment, speculation, memory — all pressing into surfaces that can’t hold the weight.

Warped Space: Continuous Cities drifts through three charged sites, but they never stay separate: E3 (Hackney Wick, London), F0URCH0N//ARL3S //Périphérie, and MFN_SIN_106100 — Hackney Wick’s creative-industrial wreckage, Arles’ vandalized commercial periphery, Sinaia’s automated post-industrial ghost-grid.

These cities fold into each other, edges bleeding, texts collapsing into images, materials dragging memory into raw matter. At Camera, the exhibition itself behaves like a leftover city fragment — part archive, part ruin, part speculative monument — already falling apart as you enter.

Photography here refuses to behave. It bends, stretches, fractures. Warped under heat, folded over demolition waste, sliding across metal and perspex. Images no longer hold flat — they buckle into something closer to architecture: skins, offcuts, floor-bound debris.

In Hackney Wick, images collapse into objects too tired to stand — wedged between demolition offcuts and the bones of redevelopment. In Arles, vandalized glyphs — letters half-ripped from commercial signage — blur into ghost images, flickering across postcard views of the river and roman ruins. It’s a Warhol-Wool-Guyton fever dream — post-vandalism text hallucinating its way into abstract expressionism, print error, and mechanical gesture all at once.

Sinaia folds differently. Aerial views scraped from surveillance and satellite archives collide with the textures of factory floors and still images of a mountain resort frozen in postcard time. Here, personal memory stutters into forensic evidence — a fragmented map of loss and adaptation.

This is spatial drift. Capital flows unevenly across these landscapes — gentrification, tourism, redevelopment pressing against residues of older economies and erased communities. Hackney Wick’s playground stretches over industrial bones. Arles’ periphery resists heritage packaging. Sinaia is suspended between rusting factories and its speculative future as tourist terrain.

At Camera, these pressures compress into a single claustrophobic room — surfaces too close, histories too loud. No horizon, only stacked layers of image, material, and leftover memory sinking into unstable ground.

Warped Space: Continuous Cities doesn’t document urban change — it hallucinates it, performs it, overheats inside it. Photography melts into sculpture into ruin, refusing to sit still or make sense.




Works Presented:

1. MFN_SIN_106100:
Post-Industrial Grid / 
Automated Mountainscape

4 x A1 UV prints on Perspex,
2x A3 uv prints on perspex
laser-cut, heated, melted, and bent over various materials.

Integrated with insulation foil,
spray paint, and found elements.

2. E3: Hackney Wick
4 X UV prints on various metal sizes,
hand-bent on site, integrated with discarded materials.


3. F0URCH0N//ARL3S.
5x A1 UV prints on Alucobond with unique
cutouts and laser-cut Perspex shapes.

CNTRO_DGP 3143 // C^RD3N^S
A1 UV print on Alucobond