25/04/2026
Within the conventionally open setting of an art fair, Ghosts, Gods, Humans disrupts habitual modes of viewing by inserting a space fully sealed by white drapery. Passing through the curtains, viewers enter a quasi-theatrical installation in which suspended ceramic human figures hover in midair, their poses subtly performed rather than static. Facial features remain generalized and deliberately indeterminate.
At the same time, the shadows of both the sculptures and the viewers are projected onto the surrounding fabric, producing layered screens that oscillate between actuality and performance. From the perspective of those outside the installation, the bodies within become part of the display mechanism. The work thus does not merely construct a site for viewing, but actively produces subjects who are to be viewed.
Having grown up in a family of stage performers, Ako Goto has long inhabited environments in which fiction and reality intersect. This experience informs an approach to sculpture grounded in structure, mechanism, and perception rather than narrative. In Ghosts, Gods, Humans, the work neither relies on fiction nor returns fully to the real. Instead, it establishes a self-consistent perceptual system within the space between the two.
What viewers encounter is not a site of passive spectatorship, but a liminal theatre in which bodies, shadows, and objects continuously reflect one another, shifting across unstable zones of perception and presence.
📍Booth 1C32 from March 25–29, 2026 at Convention & Exhibition Centre, Hong Kong, China
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