At a Shanghai exhibition, Alicia handed a new camera to her child. It had been chosen ahead of summer travel: fast enough for movement, animals, and unplanned portraits. Here, among the installations, its first lesson was simpler—attention changes when the camera changes hands.
Alicia treats looking as something practised together. Exhibition rooms, photography, and city walks belong to ordinary life; they teach attention. In this frame, the person accustomed to looking becomes the subject of another person’s point of view.
The camera changes hands; attention follows.
