This Looks More Real Than It Did Yesterday

The room is dark. The floor gives way to four tonnes of sand. On the right, a coral cave is lit in gold; on the left, a single red sun-lounger watches a moving image it cannot reach.

The work began as a private question — what do we hold on to when an environment, a habit, or a body has already begun to recede? Winnicott’s notion of the transitional object sits behind the room as a quiet theoretical anchor: the corals, hand-built one by one, are objects that stand in for something missing. They look more real than they did yesterday because the thing they replace is fading faster than they are.

Visitors move barefoot through the sand. The film projected on the far wall is a continuation of A Trip to Sargasso Sea — the same passenger, the same eel, the same coral as a distributed memory. Here the film becomes a tide, not a screen.

The installation extends the language of the Sargasso project — from short film into spatial work, from image into ground.