The tension between opposing states has always been present in Sofia Karakatsanis's work; in surfaces scorched and bleached, in forms that read as both grown and constructed, in objects that hold beauty and discomfort in the same breath. Interstice names that tension directly. It is the first body of work in which the threshold itself becomes the subject.

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The word interstice describes the charged space that exists between things; not absence, but interval. These works exist between polarities: beautiful and grotesque, alive and inert, made and grown. They are fully realised objects whose subject is transformation itself, work that looks as though it is becoming, without resolving into what.

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Interstice 1 opens the series. The mirror as form is not incidental; it is an object that has always lived at the boundary between self and space, between what is present and what is reflected back. The hand-silvered glass, produced in collaboration with specialist heritage glass makers, returns not a true image but something distorted and shifting. The piece asks the viewer to remain in that uncertainty.