https://www.clastmagazine.com/articles daily 0.75 2026-08-10 https://www.clastmagazine.com/articles/memories-in-mist monthly 0.5 2026-05-30 https://images.squarespace-cdn.com/content/v1/68b3039cb2488a6cd371585a/a85063df-050b-4799-af4f-fecf7d5d8307/5J4A6456.jpg ARTICLES - Memories in mist Late last year, we visited Memories in Mist, Arlau's solo debut at The Chapel in St. Margaret's House the vintage diascope loaded with Arlau's transparencies. Curator Margarita Makhanova had worked with digital transfer film before and knew she could imitate a positive using a regular printer. The rest came from a shared childhood memory: both she and Arlau grew up in post-Soviet households, both remembered the diascope. So they sourced one. Replaced the old positives with new ones. Altered the memory inside the machine. https://images.squarespace-cdn.com/content/v1/68b3039cb2488a6cd371585a/c7a95f0d-7846-476b-97ea-c9f9a73c7ae8/5J4A6515+copy.jpg ARTICLES - Memories in mist What this looked like in practice: faces dissolved into light. Figures meshed into tree lines, into grass, into fog. Images partly obscured by mist, literal or otherwise. They feel approximate. They give you the feeling of a memory without the specificity. Recognition without location. Makhanova told us of receiving sixty images from Arlau in the initial editing process. She printed each one at thumbnail scale, cut them out, and physically arranged them against a hand-drawn floor plan of the chapel before the hang, a drafting method that produced a result almost identical to the final show. The images grouped into four areas: nature, religion, fairy-tale references, self-portraiture. Makhanova works with a principle of simple exhibition design, prefering to respond to existing architecture rather than overbear. Here, that meant incorporating the stained glass, the altar, the wooden cross into the work itself. The Triptych, three photographs on wooden blocks, was placed alongside the existing stained glass panels. 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