I wanted to photograph the infrastructure of continuation — not the moment of loss, but the century after, when absence has become building material. The Seto brooches without their stones fascinate me: those prongs were designed to hold, and now they hold holding itself. The chrysalis shells are even more pointed — each one is literally the architecture a creature built to transform inside, abandoned after the transformation was complete. She is dressed in departure structures. The silkworm nursery grounds this in labor, in economy, in the way whole regions can be shaped around a single species and then must reshape when it vanishes. This is not grief as performance but grief as textile industry. — Lux