Adam Swica’s recent works—a suite of four, large-scale photographs—continue his experimental approach to image-making, building layers of translucent light and form on a single negative through multiple exposures. What culminates as a single image is the impression of a series of captures,  in-camera documentation of simple paper forms and projected light. The consistent, muted tones in three works—Kindle, Blush, Bloom—chart an accumulating density of luminous folds encircling a central spine or stem, akin to a growth cycle. Time is both working material and subject. The fourth work, Blaze, sits in counterpoint, formed through the same process of successive captures, with similar calculations around transparency and opacity, yet materializes in high chroma, with graphic veils of black and white coating the surface, flickering between advancing and retreating perspectives. It’s an instructive image in context of Swica’s photographic project, a reminder of the range of possible outcomes where the parameters involved in his process don’t bind so much as contain, where the slightest adjustments can entirely shift the point at which chance and intention intersect.