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As if the several images of projectors illuminating gallery walls wasn't enough, we brandish the literal celluloid here to state "this is a physical object," a spell to ward off the anonymizing ether of digital networks that would, god forbid, force competition with every other image. Instead we wreath it, frames architecture filmstock perforations. Objects seem to almost fear their dispersion, fear their image against Instagram mass. Kreps website doesn't actually have the photos without their frames, that's a CAD exclusive perhaps ready for its close up. And the celluloid is labelled like a movie, time and all. Walls for protection. It's important to keep you distinct and the gallery in its resplendent pasture, separate from the polloi.
