Things That Move: Charles Atlas Made Still

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This photographic series explores the visual and conceptual dialogue between film and still photography, examining how movement transforms when rendered in a fixed frame. Inspired by Charles Atlas’s “About Time” the first US museum survey of his work at the Institute of Contemporary Art in Boston Ma.

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This photographic series reinterprets the kinetic energy of Charles Atlas’s moving images by distilling them into still compositions. Atlas’s work, deeply rooted in choreography and performance, invites the viewer to experience movement in real-time. . Using long exposure, I capture the shadows of movement, allowing motion to leave its trace within the frame. The result is not just a frozen instant but an accumulation of time—where dance lingers as a ghostly imprint of its own passage.

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 By extracting moments from this visual flux, my images explore how motion is perceived, recorded, and reimagined in a photographic frame. The result is a dialogue between mediums—film and photography—where movement is both captured and disrupted

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By photographing projected moving images, I engage with the technical and aesthetic challenges of translating light, motion, and cinematic time into a singular photographic moment. The result is not a documentation of Atlas’s work but a transformation—where the still image becomes a gestural movement of its own, an imprint of both the original choreography and my intervention as a photographer.

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This series explores the visual and conceptual dialogue between film and photography, investigating how movement transforms when translated into a still image. Using long exposure, I capture the shadows of movement, allowing motion to leave its trace within the frame. The result is not just a frozen instant but an accumulation of time—where dance lingers as a ghostly imprint of its own passage.

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By photographing projected moving images, the work also wrestles with the materiality of light and the challenge of translating motion into a fixed composition. The images exist between presence and absence, performance and memory, creating a photographic interpretation of movement that is neither fully still nor entirely in motion.

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Rather than simply documenting Charles Atlas’s work, this series reinterprets it, reframing his dynamic explorations of dance and media into a new visual language—one where light, shadow, and time converge in a single frame.