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A building that had been a factory for nearly 30 years is to turn into a hotel in keeping with the local economic development. As the building enters the transitional stage, the deserted space dropsinto a dead silence. The air is stale.
Ducky, the photographer, enters with his camera. He surveys through his lens theabandoned space, machines, parts and recyclables through his lens. In them he sees life. And like a seasoned puppeteer, he pulls the invisible strings, giving objects souls once again. Together the objects perform a theatrical piece of life.
The industrial revolution would not have been possible had machinery not been created. Neither would we be able to replicate in an instant the daily necessities we need and the things we want. Creation is the beginning of death. Despite this, Ducky does not set out to replicate the look of the dying for remembrance. His works enable us to feel the temperature of an object as it comes into being. His works enable us to see life that is normallyinvisible to us. His photographs are like a video recording that enables us to hear the machines in the factory move and roll, the space murmur, and see the objects dance and whirl.
Ducky believes that nothing is permanent. Through the metaphor in his works, he suggests a constant flux or changethateverything in life is. To him, death is the transformation from one thing or state to another. Since each state has limitless manifestations, what we see is a reflection of our mental state.
In every place there is space; and in every space, there is theatre waiting to be seen, hidden truth waiting to be learnt.
Through Ducky’s photographic works, scenes of the invisible theatre are now playing before our very eyes.