Sruli Recht

11/06/2026

FONT
Atomic Waterfall

On the effusion of hydrogen to oxygen, by the intervention of a blacker platinum.

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Preview of Installation Eight.

Object: An atomic waterfall - Hydrogen and oxygen gas are brought together over platinum to produce water molecule by molecule.
From aluminum, steel, glass, Hydrogen gas, Oxygen gas, Platinum black.

2.5 x 4.3 x 4 Meers

FONT is a study in origin, showing water made molecule by molecule, the beginning of substance rendered as an ongoing event.

Two elements, hydrogen and oxygen as gas, are brought together over a catalytic surface, producing water in a continuous cycle.
Drops of water periodically precipitate and pool in a circular depression bellow.

The reaction appears simple yet arrives sacred - substance forming where there was none.

Each droplet emerges through pressure, heat, and intervention, revealing creation as discipline rather than spectacle.

Font considers water as resource and origin: a process that repeats without exhaustion, showing matter at its first moment of becoming, molecule by molecule, in quiet persistence.

This is a metaphor for the creative act, the solitude and patience and progress, when no one is watching.

MADE IN CHINA

Fabrication Team
Yang Jianfeng
Ouyang Chunfeng

Development
Yuying Qu

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LAIR
OBJECTS FOR EMOTIONAL PREPARATION

SWCAC Museum, China, 2026
Inaugural Museum Exhibition by Sruli Recht

12900 sq feet || 11 Installations
68 sculptures made from lava, lightning, water, skin, and air

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PARTICIPANTS
Created by
Project Management -
Narrative Design -
Art Direction -
Animation Design -
Video Edit -
Original Score -
Olfactive Composition -

Captured by

19/05/2026

POST EARTH - MICROGRAVITY

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HEAVENLY BODIES
An anatomy of synthetic evolution for interplanetary settlement

The beauty standards of Adaptation Aesthetics and the erotics of survival

In Space, nobody needs feet.

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Preview of Installation Seven.

Object: POST EARTH - MICROGRAVITY

One of ten evolutionary forms

From the skin of 11 Goats

45 x 14 x 64 cm

Heavenly Bodies is a speculative anatomy of humanity dispersed through the solar system – ten forms of survival translated into ideals of beauty. Each body is designed from the physics of its environment: gravity, atmosphere, radiation, temperature.
Every adaptation becomes both standard and fe**sh. Function turns ornamental; necessity becomes desire.

This work examines evolution writing aesthetics directly into flesh. Every figure is a devotion to endurance - each world defining new body beauty under different laws, where the process of making and purpose remain core human rituals.
The artist enters these processes as both architect and witness, shaping matter until it reveals the longing to survive.

These physiologies form a catalogue of futures, where evolution and culture intertwine, and the line between necessity and attraction collapses into a single gesture shaped by each planet’s demands.

Heavenly Bodies maps the synthetic redesign required for each planet – adaptation as an amplification of beauty standards to sexiness.

MATERIAL
Velum

MADE IN CHINA

Project Lead



Fabrication Team






Ziyao Zhangivaste



3D Sculptor


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LAIR
OBJECTS FOR EMOTIONAL PREPARATION

SWCAC Museum, China, 2026
Inaugural Museum Exhibition by Sruli Recht

12900 sq feet || 11 Installations
68 sculptures made from lava, lightning, water, skin, and air

-

PARTICIPANTS
Created by
Project Management -
Narrative Design -
Art Direction -
Animation Design -
Video Edit -
Original Score -
Olfactive Composition -

Captured by

05/05/2026

BLUE BALLS

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COLONY COLLAPSE REORDER
Fertility, Fe**sh, and the Phallicy

Bee-Skin Fur Effigies for the natural hierarchy of the reap

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Preview of Installation Six.

Object: Blue Balls of a Post-Pubertal Adolescent 

From the fur of 250 Blue Carpenter Bees

45 x 14 x 64 cm

Black Silver frames wrapped in bee-skin fur hold the remnants of colony collapse, shaped into ritual effigies that act as bargaining gestures to negotiate a return of fertility and harvest. 

Bee bodies, legs, and wings form a textured surface-an offering to a system that has already failed. Absurdity  and futility knot together: bees for superstition, forms built to bargain with loss. 

These objects stand as gestures toward provision, asking for abundance from the very world that no longer supports it.

The surfaces carry disappearance as texture, making each piece a petition for return. They stand as embodiments of futility and faith, built from the remains of a world that no longer yields.

MATERIAL
Blue Carpenter Bees, Black Silver.

MADE IN CHINA

Project Lead


Fabrication Team
youjia



Development


Dedicated to

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LAIR
OBJECTS FOR EMOTIONAL PREPARATION

SWCAC Museum, China, 2026
Inaugural Museum Exhibition by Sruli Recht

12900 sq feet || 11 Installations
68 sculptures made from lava, lightning, water, skin, and air

-

PARTICIPANTS
Created by
Project Management -
Narrative Design -
Art Direction -
Animation Design -
Video Edit -
Original Score -
Olfactive Composition -

Captured by

23/04/2026

CHROMOSENSUAL
Instruments For Olfactive Amplification

When tension, attention, and resonance bind molecule and wave into matrimony through a requisition of sympathy and frequency.

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Preview of Installation Five.

Object: 宮 THE CENTRAL TONE 
(GŌNG / C) 

A copper body tuned to vibration, carrying scent on frequency.

320 x 102 x 80 cm

Fourteen scents are sequenced through the exhibition and synchronised with the intallations, sculpture and score -  
an olfactive composition developed by Alex Lee, in partnership with IFF and delivered via technology by Everfree.
In this room, five fragrances are played by the instruments.

The exhibition is scored by Valgeir Sigurðsson as a sequence of seventeen interlinked compositions, one for each space. 
Built with the logic of a film score, themes are introduced in the opening rooms, developed across spaces, and resolved in the final chamber.

[A dedicated post on fragrance and score upcoming]

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Score by Valgeir Sigurðsson with Francesco Fabris. Olfactive Design by Alex Lee, IFF.

fabris



Fabrication Team
Yang Jianfeng
Ouyang Chunfeng



Development



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LAIR
OBJECTS FOR EMOTIONAL PREPARATION

SWCAC Museum, China, 2026
Inaugural Museum Exhibition by Sruli Recht

12900 sq feet || 11 Installations
68 sculptures made from lava, lightning, water, skin, and air

-

PARTICIPANTS
Created by
Project Management -
Narrative Design -
Art Direction -
Animation Design -
Video Edit -
Original Score -
Olfactive Composition -

Captured by

20/04/2026

DOWN
Coq-Bags                
 
Bird-skin feather boxing forms

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Preview of Installation Four.

Object: FLIGHT

From the fur of 300 Pigeon

226 x 65 cm

Birdskins taxidermied around suspended forms invert the hierarchy of perceived resource value.
Down becomes inversion, a study in how material norms shift by cultural preference and placement.

Feathers positioned outward unsettle expectations of materiality, placement, and value, revealing the narrow metrics by which materials gain or lose value.

These suspended bodies carry contradiction on their surface - tenderness made abrasive, fragility built to absorb impact.
Down exposes how aesthetics, culture, and preference script worth, turning a traditionally delicate material into an instrument of quiet menace and inverted desire.

Moving feathers from the inside to the outside makes the inversion clear.
We accept leather but not fur, though the difference is only a shave.
Here we are confronted with the act of animal-product cultivation, when it is usually concealed inside products.
Value is created from cultural beauty: one bird is more valuable because of its appearance.

MATERIAL
Pigeon, Architectural Foam, Carbon Fibre.

MADE IN CHINA

Project Lead khairat


Fabrication Team


Jiemei Chen






Development


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LAIR
OBJECTS FOR EMOTIONAL PREPARATION

SWCAC Museum, China, 2026
Inaugural Museum Exhibition by Sruli Recht

12900 sq feet || 11 Installations
68 sculptures made from lava, lightning, water, skin, and air

-

PARTICIPANTS
Created by
Project Management -
Narrative Design -
Art Direction -
Animation Design -
Video Edit -
Original Score -
Olfactive Composition -

Captured by

16/04/2026

12/04/2026

FIRMAMENT

Holy Fire Luminaires

Objects made with the impossible violence of lightning
as choreographed through glass sand,
vitrifying it to fulgurite on impact.

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Preview of Installation Three.

Object: PREDATION
A Retroreflective Chandelier

317 x 383 x 286 cm

These suspended glass bodies hold the moment where electrical force meets mineral resistance - elemental violence turning into beauty, illumination held in matter. Each chandelier reflects the cosmology of sacred making: a cataclysm cast into form, the sky touching the ground.

Lightning becomes mineral architecture; the trace of an event suspended in a moment formed by impact.

MATERIAL
Borosilicate glass beads, Steel, Lead

MADE IN CHINA

Project Lead



Fabrication Team
Masong Xu
Xiaoqun Tang


-

LAIR
OBJECTS FOR EMOTIONAL PREPARATION

SWCAC Museum, China, 2026
Inaugural Museum Exhibition by Sruli Recht

12900 sq feet || 11 Installations
68 sculptures made from lava, lightning, water, skin, and air

-

PARTICIPANTS
Created by
Project Management -
Narrative Design -
Art Direction -
Animation Design -
Video Edit -
Original Score -
Olfactive Composition -

Captured by

15/03/2026

GEOMANCER: THE ACRONYMICON

Reliquaries of Generational Descent

Magma-cast obsidian monuments for expiring value identities, shaped from molten basalt.

[Next time I’ll tell you how I made lava]

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Preview of Installation Two.

Object: SINDY

230 x 100 x 80 cm

Magma-cast obsidian faceted monuments shaped from molten basalt, formed as commemorative vessels for dead economic segments and expiring value identities.
Each is drawn from the coded acronyms that once defined capital desire and demographic worth, now reduced to residue.

These objects mark the decline of assigned identities - segments that fell through time, collapsed through lineage, and solidified into mineral evidence.

They stand as volcanic glass records of classification - segments named, measured, and left behind.

And they are heavy. af.

GEOMANCER operates as an archive of generational erosion inscribed in volcanic glass - A chapter in a wider, ongoing project of geological memory and economic disappearance.

Project Lead - 

Fabrication Team
Yang Jianfeng
Ouyang Chunfeng

-

LAIR
OBJECTS FOR EMOTIONAL PREPARATION

SWCAC Museum, China, 2026
Inaugural Museum Exhibition by Sruli Recht

12900 sq feet || 11 Installations
68 sculptures made from lava, lightning, water, skin, and air

-

PARTICIPANTS
Created by
Project Management -
Narrative Design -
Art Direction -
Animation Design -
Video Edit -
Original Score -
Olfactive Composition -

Captured by

23/02/2026

Aquamancy: Vivaria
Cradles between the dream and the material

Woven and mineral-accreted vessels for the incubation of anticipation, enthusiasm, and hope

LAIR
OBJECTS FOR EMOTIONAL PREPARATION

SWCAC Museum, China, 2026
Inaugural Museum Exhibition by Sruli Recht

12900 sq feet || 11 Installations
68 sculptures made from lava, lightning, water, skin, and air

-

Preview of Installation One.

These woven vivariums are a long term non-monogamous relationship that begin as copper frameworks modeled digitally and hand-woven like baskets.

Once submerged in seawater and electrified, limestone slowly accretes atom by atom around the conductive frame, through electrolytic mineral accretion growing into coral-like structures. The process fuses one of humanity’s oldest technologies - weaving - with geological and biological growth, producing objects that are neither fully human-made nor natural. Each becomes a vivarium: the opposite of a reliquary.

Where an urn holds ashes of the dead, these vessels carry futures not yet realized - potential, momentum, and hope.

Aquamancy Fabrication Lead - .ivaste

Fabrication Team






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PARTICIPANTS
Created by
Project Management -
Narrative Design -
Art Direction -
Animation Design -
Video Edit -
Original Score -
Olfactive Composition -

Captured by



lab

21/02/2026

Aquamancy: Vivaria
Cradles between the dream and the material

Woven and mineral-accreted vessels for the incubation of anticipation, enthusiasm, and hope

LAIR - Installation One

These woven vivariums are a long term non-monogamous relationship that begin as copper frameworks modeled digitally and hand-woven like baskets.

Once submerged in seawater and electrified, limestone slowly accretes atom by atom around the conductive frame, through electrolytic mineral accretion growing into coral-like structures. The process fuses one of humanity’s oldest technologies - weaving - with geological and biological growth, producing objects that are neither fully human-made nor natural. Each becomes a vivarium: the opposite of a reliquary.

Where an urn holds ashes of the dead, these vessels carry futures not yet realized - potential, momentum, and hope.

–

At the center of LAIR lies the choreography of emotional priming and uncertainty – inviting the audience to navigate a sequence of spatial and sensory thresholds, designed to evoke awe, discomfort and catharses – drawing participants into states of heightened psychological presence.

This calibrated arc unfolds as a scored and olfactive composition in a ritual pathway, moving through compression and release, darkness and reflection, absurdity and transcendence.

PARTICIPANTS
Created by
Project Management -
Narrative Design -
Art Direction -
Animation Design -
Video Edit -
Original Score -
Olfactive Composition -

Captured by

Aquamancy Fabrication Lead - .ivaste



lab