Sharp Shadows is an installation that takes Sir Banister Fletcher’s canonical A History of Architecture on the Comparative Method as both material and target. Instead of editing the book on the desk, the work edits it in space: scanned pages from the treatise are cut, layered, and turned into moving images, then projected onto a hanging field of clear cords that fracture and redirect the light.

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The piece confronts Fletcher’s famous “tree” of architectural history, where non-Western traditions were relegated to minor, dead-end branches, and asks what it means to cut into that diagram today. The projection performs what the project calls additive subtraction: each incision and splice appears to subtract from the book, but in fact thickens it with new, previously marginalized narratives. Cutting becomes a tool for disclosure rather than erasure.

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In the dark closet, the cords read like a three-dimensional drawing—an atmospheric section through architectural history. Ethnographic footage, domestic scenes, and fragments of contemporary cities slide across the suspended lines, interrupting the treatise’s smooth authority. The book stops being a closed object and becomes a provisional apparatus: a vibrating field where the canon can be rewired, re-routed, and opened to other voices.