[Nijinsky in "Danse siamoise" from the "Orientales"] 1910

This photograph, by Eugène Druet, shows the dancer Nijinsky floating, suspended mid-air, like an apparition. I keep looking at this, and thinking about process. I imagine Druet, seeing Nijinsky dance and feeling the need to capture that ethereal presence. What was it like to be there, in the moment, trying to find a way to fix this fleeting image in time? The ephemeral nature of dance, the challenge of pinning down a body in motion… it’s like trying to hold water in your hands. There's a stillness to the image that belies the dynamism of the dance, a tension between movement and stasis, like a held breath. And that grainy texture, the way the light catches on the surface, gives it a tactile quality that pulls you in. Painters and photographers, dancers and sculptors - we're all in conversation, borrowing and stealing from each other, trying to make sense of the world through our own particular lens. It’s about embracing the uncertainty, allowing for multiple readings, and finding beauty in the in-between spaces.