Last month to see this work at @1fa9f.space in Marseille 🌞
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𝘐 𝘴𝘱𝘦𝘢𝘬 𝘵𝘩𝘦 𝘣𝘳𝘪𝘨𝘩𝘵 𝘩𝘰𝘶𝘳𝘴, 𝘐 𝘢𝘮 𝘴𝘪𝘭𝘦𝘯𝘵 𝘢𝘣𝘰𝘶𝘵 𝘵𝘩𝘦 𝘤𝘭𝘰𝘶𝘥𝘺 𝘰𝘯𝘦𝘴 (2026) transforms the vitrine of 1fa9f.space in Marseille into a light-sensitive instrument. Installed within the narrow window on rue Paradis—a street marked by long periods of sunlight and a steady pedestrian rhythm—the work treats the façade as both a sensor and display, capturing and rendering visible the shifting brightness of day and night.
A light sensor positioned near the glass repeatedly measures the ambient brightness of the street. These readings control vertical ultraviolet LED strips oriented toward the back of the vitrine. The system reacts directly to natural light: when sunlight intensifies, the ultraviolet glow strengthens and extends over longer periods; as brightness diminishes, it softens into a fainter, faster pulse.
Behind the LEDs, a series of embossed aluminium panels are positioned along the tapered interior of the vitrine. Coated with white photochromic pigment, the surfaces gradually turn orange under ultraviolet exposure. The panels positioned closer to the light source—and exposed for longer durations—develop deeper colouration. Over time, the surfaces register chromatic variations, forming a shifting record of the day’s brightness. The window becomes a measuring device, transforming daylight into a slow modulation of colour.
The project draws inspiration from Marseille’s historic sundials and their Latin inscriptions, notably Lucidos dico, taceo nubilas—“I speak the bright hours, I am silent about the cloudy ones.” Engraved on façades across the city, these mottos convey the intrinsic measurement of light for time. Echoing this principle, the installation allows sunlight and weather to inscribe themselves onto the reactive surfaces. The system does not measure time directly, rather, it reveals its residue through light’s interaction with material.
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Thank you Victoire and Adrien
@1fa9f.space poursuit son programme d'exposition avec Thomas Pellerey Grogan “I speak the bright hours, I'm silent about the cloudy ones” ⏰🌞 🪟
@thomgrog transforme la vitrine en un instrument mesurant la lumière. Oscillant entre la lumière directe du soleil et les UV artificiels, l’installation respire au fil du jour et des heures plus sombres, faisant évoluer la couleur de la pièce. ———
1𝘧𝘢9𝘧 𝘤𝘰𝘯𝘵𝘪𝘯𝘶𝘦𝘴 𝘪𝘵𝘴 𝘱𝘳𝘰𝘨𝘳𝘢𝘮 𝘸𝘪𝘵𝘩 𝘛𝘩𝘰𝘮𝘢𝘴 𝘗𝘦𝘭𝘭𝘦𝘳𝘦𝘺 𝘎𝘳𝘰𝘨𝘢𝘯, 𝘸𝘩𝘰 𝘵𝘶𝘳𝘯𝘴 𝘵𝘩𝘦 𝘸𝘪𝘯𝘥𝘰𝘸 𝘪𝘯𝘵𝘰 𝘢 𝘭𝘪𝘨𝘩𝘵-𝘮𝘦𝘢𝘴𝘶𝘳𝘪𝘯𝘨 𝘪𝘯𝘴𝘵𝘳𝘶𝘮𝘦𝘯𝘵. 𝘔𝘰𝘷𝘪𝘯𝘨 𝘣𝘦𝘵𝘸𝘦𝘦𝘯 𝘥𝘪𝘳𝘦𝘤𝘵 𝘴𝘶𝘯𝘭𝘪𝘨𝘩𝘵 𝘢𝘯𝘥 𝘢𝘳𝘵𝘪𝘧𝘪𝘤𝘪𝘢𝘭 𝘜𝘝, 𝘵𝘩𝘦 𝘪𝘯𝘴𝘵𝘢𝘭𝘭𝘢𝘵𝘪𝘰𝘯 𝘣𝘳𝘦𝘢𝘵𝘩𝘦𝘴 𝘵𝘩𝘳𝘰𝘶𝘨𝘩 𝘥𝘢𝘺𝘭𝘪𝘨𝘩𝘵 𝘢𝘯𝘥 𝘥𝘢𝘳𝘬𝘦𝘳 𝘩𝘰𝘶𝘳𝘴, 𝘤𝘢𝘶𝘴𝘪𝘯𝘨 𝘵𝘩𝘦 𝘤𝘰𝘭𝘰𝘳 𝘰𝘧 𝘵𝘩𝘦 𝘱𝘪𝘦𝘤𝘦 𝘵𝘰 𝘴𝘩𝘪𝘧𝘵 𝘰𝘷𝘦𝘳 𝘵𝘪𝘮𝘦.
On view until May 22nd👀
𝘐 𝘴𝘱𝘦𝘢𝘬 𝘵𝘩𝘦 𝘣𝘳𝘪𝘨𝘩𝘵 𝘩𝘰𝘶𝘳𝘴, 𝘐 𝘢𝘮 𝘴𝘪𝘭𝘦𝘯𝘵 𝘢𝘣𝘰𝘶𝘵 𝘵𝘩𝘦 𝘤𝘭𝘰𝘶𝘥𝘺 𝘰𝘯𝘦𝘴 (2026) transforms the vitrine of 1fa9f.space in Marseille into a light-sensitive instrument. Installed within the narrow window on rue Paradis—a street marked by long periods of sunlight and a steady pedestrian rhythm—the work treats the façade as both a sensor and display, capturing and rendering visible the shifting brightness of day and night.
A light sensor positioned near the glass repeatedly measures the ambient brightness of the street. These readings control vertical ultraviolet LED strips oriented toward the back of the vitrine. The system reacts directly to natural light: when sunlight intensifies, the ultraviolet glow strengthens and extends over longer periods; as brightness diminishes, it softens into a fainter, faster pulse.
Behind the LEDs, a series of embossed aluminium panels are positioned along the tapered interior of the vitrine. Coated with white photochromic pigment, the surfaces gradually turn orange under ultraviolet exposure. The panels positioned closer to the light source—and exposed for longer durations—develop deeper colouration. Over time, the surfaces register chromatic variations, forming a shifting record of the day’s brightness. The window becomes a measuring device, transforming daylight into a slow modulation of colour.
The project draws inspiration from Marseille’s historic sundials and their Latin inscriptions, notably Lucidos dico, taceo nubilas—“I speak the bright hours, I am silent about the cloudy ones.” Engraved on façades across the city, these mottos convey the intrinsic measurement of light for time. Echoing this principle, the installation allows sunlight and weather to inscribe themselves onto the reactive surfaces. The system does not measure time directly, rather, it reveals its residue through light’s interaction with material.
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Thank you Victoire and Adrien
Join us at on February 26, 6–9pm, for the opening of Thomas Pellerey Grogan’s exhibition “I speak the bright hours, I am silent about the cloudy ones ⏰🌞” @thomgrog@1fa9f.space
1fa9f.space is a space supported by @focus.focus.marseille 🙏
Design by @edition.studio
Last week to see 𝘙𝘰𝘰𝘧 𝘰𝘧 𝘵𝘩𝘦 𝘸𝘪𝘯𝘥𝘴 at @xxijrahii_
I will be at the gallery this Friday 4-7pm with some mulled wine to say farewell to 2025. Come say (goodb)hi!
Thank you everyone for coming to the opening on Friday. It was really heartwarming 💐
The show runs until the 19th of December at @xxijrahii_ . Hope you all have a fabulous end of year.
I would like to personally thank Ema O’Donovan, David Micheaud, Noam Alon, Sam Meredith and Stanislav Iordanov for making this possible.
Issue 78, November 2025, Conversation with Thomas Pellerey Grogan @thomgrog
— By Noam Alon @noamaloniz
« Rather than producing permanence, cities are defined by endless maintenance, adjustment, and improvisation. My work tries to materialise this constant cycle of entropy and renewal-the paradox of labour that never ends, but also generates its own meaning. »
This publication was produced with the kind support of @fondationpernodricard
For the past year, I have been working toward this show, and it is now happening. I am excited to finally share the work publicly. It has been a beautiful journey, working over such a long time frame and allowing the project to develop in new ways and reflections. The work draws inspiration from René Daumal’s Mount Analogue, both as a conceptual framework and as a work environment.
𝘠𝘰𝘶 𝘤𝘢𝘯𝘯𝘰𝘵 𝘴𝘵𝘢𝘺 𝘰𝘯 𝘵𝘩𝘦 𝘴𝘶𝘮𝘮𝘪𝘵 𝘧𝘰𝘳𝘦𝘷𝘦𝘳; 𝘺𝘰𝘶 𝘩𝘢𝘷𝘦 𝘵𝘰 𝘤𝘰𝘮𝘦 𝘥𝘰𝘸𝘯 𝘢𝘨𝘢𝘪𝘯. 𝘚𝘰 𝘸𝘩𝘺 𝘣𝘰𝘵𝘩𝘦𝘳 𝘪𝘯 𝘵𝘩𝘦 𝘧𝘪𝘳𝘴𝘵 𝘱𝘭𝘢𝘤𝘦? 𝘑𝘶𝘴𝘵 𝘵𝘩𝘪𝘴: 𝘞𝘩𝘢𝘵 𝘪𝘴 𝘢𝘣𝘰𝘷𝘦 𝘬𝘯𝘰𝘸𝘴 𝘸𝘩𝘢𝘵 𝘪𝘴 𝘣𝘦𝘭𝘰𝘸, 𝘣𝘶𝘵 𝘸𝘩𝘢𝘵 𝘪𝘴 𝘣𝘦𝘭𝘰𝘸 𝘥𝘰𝘦𝘴 𝘯𝘰𝘵 𝘬𝘯𝘰𝘸 𝘸𝘩𝘢𝘵 𝘪𝘴 𝘢𝘣𝘰𝘷𝘦. 𝘖𝘯𝘦 𝘤𝘭𝘪𝘮𝘣𝘴, 𝘰𝘯𝘦 𝘴𝘦𝘦𝘴. 𝘖𝘯𝘦 𝘥𝘦𝘴𝘤𝘦𝘯𝘥𝘴, 𝘰𝘯𝘦 𝘴𝘦𝘦𝘴 𝘯𝘰 𝘭𝘰𝘯𝘨𝘦𝘳, 𝘣𝘶𝘵 𝘰𝘯𝘦 𝘩𝘢𝘴 𝘴𝘦𝘦𝘯. 𝘛𝘩𝘦𝘳𝘦 𝘪𝘴 𝘢𝘯 𝘢𝘳𝘵 𝘰𝘧 𝘤𝘰𝘯𝘥𝘶𝘤𝘵𝘪𝘯𝘨 𝘰𝘯𝘦𝘴𝘦𝘭𝘧 𝘪𝘯 𝘵𝘩𝘦 𝘭𝘰𝘸𝘦𝘳 𝘳𝘦𝘨𝘪𝘰𝘯𝘴 𝘣𝘺 𝘵𝘩𝘦 𝘮𝘦𝘮𝘰𝘳𝘺 𝘰𝘧 𝘸𝘩𝘢𝘵 𝘰𝘯𝘦 𝘴𝘢𝘸 𝘩𝘪𝘨𝘩𝘦𝘳 𝘶𝘱. 𝘞𝘩𝘦𝘯 𝘰𝘯𝘦 𝘤𝘢𝘯 𝘯𝘰 𝘭𝘰𝘯𝘨𝘦𝘳 𝘴𝘦𝘦, 𝘰𝘯𝘦 𝘤𝘢𝘯 𝘢𝘵 𝘭𝘦𝘢𝘴𝘵 𝘴𝘵𝘪𝘭𝘭 𝘬𝘯𝘰𝘸.
― René Daumal
Quote taken from Noam Alon’s exhibition text.
𝟭𝟮:𝟬𝟯 𝗚𝗠𝗧 𝟮𝟬𝟮𝟱-𝟬𝟲-𝟮𝟭
Work currently on view as part of Roulette at Piloto Pardo (@__pilotopardo ), London EC1A.
The work consists of an embossed aluminium panel conceived to register sunlight exposure at solar noon on the Prime Meridian in Greenwich. The panel features a minimal relief pattern—curved lines radiating downward from a central vertical axis—designed to interact with light falling from above. The surface is coated with a light-sensitive dye that develops permanent colour in response to ultraviolet intensity, creating a one-time record of the brightness and clarity of the sky during a specific midday hour. The aim was to create a kind of tool for marking and capturing a moment and a place at a particular time through solar exposure.
Thank you @philippausen
This sculpture is part of a series of monitor stands I made in 2017. Adorned with flowers and left bare, not holding a screen, its ornamental decoration becomes its sole function.
It will be shown at Emanuel von Baeyer Gallery (@evbaeyergallery ) in Cecil Court, London as part of a group show curated by Archie Fook - Smith (@archiefookssmith ) and Emanuel von Baeyer, opening on the 29th of May (6-9pm).
I developed this work during a residency at ArtEZ in the Netherlands, emerging from research into bas-relief and its historical role in narrating objects. Similar to ornamental vases from antiquity, often displayed without content, the work explores how bas-relief relates to the ontological projection of an object. In this context, I aimed to make the stand representative of an era of digitisation, and to invite a renewed focus on the physical realm.
Each stand was assigned a specific flower, culturally associated with escapism. The title of the work, ‘VESA, an open container’, refers to the standardised monitor-mounting system (VESA) and is an anagram of the word vase. Made of clear, transparent resin that naturally yellows over time, the work sought to make visible an object typically designed to be invisible — existing only in support of something else.
𝘓’𝘢𝘮𝘪 𝘥𝘶 𝘧𝘦𝘶 shown at Seojung Art (@seojung_art ) in Seoul from September to November 2024.
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Curator B. Jun Chae @chaejun_q
Curatorial Assistant Chaerin Lee @bonheurin_
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Executive Producer SEOJUNG ART
Filmed by Dongsu Shim @dongsu.shim
