While it is presumed that the object comes first and its shadow follows, in Shadowings, Gabrielle Adamik and Cinnamon Lee reconsider materials that reinforce this certainty, in order to let that certainty loosen.

Glass and metal are materials that are inherently solid - cold, dense, and knowing their own edges - however cast under particular light, solid objects can appear less as things in themselves than a pretext for the shadow they throw. In this way the shadow stops illustrating, it authors.

Adamik's work considers bearing witness as a form of attention. Working in panels of clear glass, recurring eyes position the works as both figures and witnesses, their encounter suggests a seeing which is shared and implicated. The shadows, louder than the object itself, act like a less stable double that exceeds the authority of the form that produces it. In this reversal, shadow is approached as an active presence.

For Lee, the shadow occupies both object and subject. Perforated metal sheet is used to trap points of light depicting imagery that echoes the innate intangibility of the shadows being cast. As light is reflected from and through the objects, the distinction between material and immaterial blurs, creating impressions that hover between apparition and artefact.