In Pinned-Memory I reflect on Mothra—the Mother of All Monsters—as a being born of boundless imagination yet here caught in a state of continuous suspension. The laser print on black zinc recalls the practice of pinning butterflies in collections, but for me it is less about preservation than about an in-between state: a frozen becoming, time arrested yet persisting.

Like in computing, where pinned memory cannot be released or reassigned, this image too remains locked, held in stasis between presence and absence, between myth and machine. I dwell on the moment where imagination contracts into suspension, persisting not as flight but as a charged trace of what is still becoming.