HALO (NYC) condenses a monumental, site-responsive apparition into a single held instant. Suspended over Manhattan’s iconic horizon, the virtual stone circle registers as both incursion and counterpoint — an ancient geometry crowning the jewelled skyline of capital with a cosmology of geologic time. A contest over space comes into focus, holding tensions between ascent and gravity, apparition and infrastructure. This activation is spatial and symbolic, indexing entangled systems of value, reality, and time.

Created through a mobile interface, HALO (NYC) foregrounds the paradox of extended reality: the device that generates a real-time spatial presence simultaneously compresses it into a fixed, pixel-bound image. In this contraction, scale is inverted and the atmospheric becomes intimate; the viewer shifts from agent to witness; and HALO occupies two states at once through lens-based articulation – as sculpture and image.

This translation is not documentation but transformation: a shift in dimensionality, where a hybrid presence coexists with a finite image-object. Here, sculpture, computation, and photography converge on a single, material surface.