HIDDEN LINES begins with a shift in scale.

Working through macro photography and focus stacking, Cueva enters material at a point where familiar objects begin to lose their identity. Fractures become lines, surfaces become planes, and small shifts in light and colour bring otherwise hidden structures into view.

Rather than documenting material as an object, Cueva uses the camera as a tool for excavation. Moving through surfaces, fractures and internal structures, he searches for compositions through observation, movement and chance. What begins as something minute becomes increasingly difficult to place.

Across the exhibition, the minute begins to suggest the architectural. Lines, planes, ruptures and voids appear at one scale yet seem capable of belonging to another, asking what becomes visible when we stop looking at what something is and begin looking at how it is formed.