Continuing Yann Pocreau’s reflections on the materiality of light, Impermanencies brought together works inspired by the celestial vault. With photographs of all types, including some produced without a camera, Pocreau ventured, as Daniel Roy notes, into a meditation on the cosmos, time, “the fleetingness of life, and the finiteness of living beings and things.” His experiments with the printing of light was redolent with homage to the pioneers of photography. And there’s more. The presence of prints not treated with fixer, “doomed to imminent extinction,” introduced thoughts about “all the creators whose names are lost to history, who have been erased by time.” As Roy observes, “The photograph is not as permanent as might have been desired. It can be altered. Memory, too.”