Blind Field draws its title from Camera Lucida, invoking the notion of meaning that lies beyond the immediately visible. The series features animistic sculptures constructed from the very apparatuses of image-making, gesturing toward the industrial systems and material economies that underpin photography. Central photographic materials—such as plastic—are arranged in compositions that echo historical references, from Lilly Reich’s industrial material installations to the flowing drapery of Renaissance painting, which Aby Warburg described as moved by an “imaginary breeze.” In this context, Warburg’s metaphorical breeze becomes a stand-in for the unseen forces—economic, political, and cultural—that shape not only photographic technologies, but the images they generate within today’s image economy.