The title F-Stop! nods to both creation and interruption. It encourages a pause admist rapid consumption, a recognition in our ability to either widen our scope or narrow our gaze with intention. Rooted in the language of photography, this exhibition is led by aperture, the adjustable opening that controls how much light enters a camera.
 

Mirroring this process, the exhibition highlights human agency: what we choose to let in and let go, what we sharpen and what we allow to blur. Across film photographs, collages, alternative processes, and in-camera experiments, the works assembled here consider focus as an active decision. Choices shape how images are made, how histories are held, and how attention is given.
 

Photography has often been framed through language of extraction, with verbiage like taking, shooting and capturing. F-Stop! echoes contemporary calls to depart from this tradition, foregrounding choice, care, and collaboration. For the eleven artists included, image-making spans relational, mindful, and investigative practice. Whether working through analog photography, darkroom processes, collage, or constructed images, these artists engage deeply with material, process, and time. They treat photography as something assembled, revisited, and negotiated rather than seized.
 

The gallery is organized to encourage close and slow looking rather than quick resolution. Across sensorial, elemental works and reimagined approaches to portraiture, the images ask viewers to linger and consider what is unfolding while being open to unresolved ambiguity.
 

Throughout the exhibition, focus and blur operate as conceptual tools rather than purely optical effects. Fragmented images, shallow depth of field, layered exposures, repetition, and scale shifts reflect how perception itself is unstable. It is shaped by memory, grief, desire, migration, land, and identity. Clarity is partial and shifting, contingent on lived experience, and what comes into focus signals care and attention.
 

The works move between the bodily and the environmental, between intimacy and distance. Portraits appear alongside landscapes, domestic interiors alongside constructed scenes, archival fragments beside contemporary documentation. Bodies are present and withheld, faces revealed and obscured. Land is not a backdrop but an active force; it carries histories, borders, erosion, and belonging.
 

While F-Stop! is ultimately about image-making, it is also about how we move through the world. It frames focus as a form of agency, one that allows us to assemble meaning, preserve what matters, and let other things drift out of view. In choosing when to stop, we open ourselves to the deliberate possibilities of seeing, living and creating.