Transparency Report

Transparency Report presents luggage and its contents as luminous, X ray like volumes distributed across engraved sheets of glass. Displayed in sequence like baggage moving through an airport security system, the four cases construct hypothetical identities: Profile Types A, B, C, and D. Possessions become evidence from which character, intention, and risk might be inferred. The absent traveller is reconstructed through objects, yet the reconstruction can never be complete. A partial inventory is made to stand for a person. The title borrows the institutional language of accountability. A transparency report ordinarily declares what an organisation has chosen to disclose. These sculptures reverse that direction.

Individuals and their belongings are rendered available to scrutiny, while the authority that defines the terms of visibility remains outside the frame. The central contradiction is that greater exposure does not produce greater certainty. It produces interpretation, suspicion, and classification. The viewer’s pleasure in scanning the images is therefore not innocent. Looking becomes a form of examination, implicating visual curiosity within the system the work addresses. Transparency Report treats transparency as an unequal relation of power: one party must become legible while another controls the categories through which it will be read. The series has been presented at Art Mûr, Arsenal Contemporary Montréal, and the Musée des beaux arts de Sherbrooke.