Lot K

Stanzie Tooth’s work asks where the human body ends and the landscape begins, building figures so deeply woven into their surroundings that foreground and background collapse into one. Lunar pushes that question further by removing the body altogether. In its place, three moths move through the blue hour—the threshold between day and night when the natural world is at its most active and its most exposed. Moths are creatures built for that crossing: drawn to light, patterned to disappear into darkness, holding survival and visibility in the same breath. Their fragile transit stands in for the wider ecological passage Tooth returns to across her practice—the fine seam between concealment and discovery, presence and disappearance, belonging to a place rather than claiming it.