The work begins with a minimal operation. A single banknote is moved in front of the sweep of a panoramic camera, synchronizing its movement with the sensor’s reading time. The camera does not record the object as a stable unit; instead, it constructs the image from successive temporal fragments. The same banknote thus appears repeated, extended, multiplied. There is no material accumulation; there is only simulation. The image generates excess without producing anything new.

This operation shifts the question away from what a photograph represents and toward the conditions that make what we see possible. Continuity no longer belongs to the object but becomes a temporal effect of the capture process. The image does not lie about the banknote: it reveals that what we understand as visual continuity can be a technical construction.

The passage from image to fabric introduces a second temporality. Against the apparent immateriality of the digital image, the surface acquires weight, gravity, folds, and resistance. The multiplicity produced by the camera is once again condensed into a single material body.

The work is situated within this tension between perception and production, between what exists and what a device makes appear.