The projections can be interpreted variously as caustics, brain neurons or the Milky Way. They can also be understood as tangible references to the imperfections seen in aged photographic materials, offering metaphorical and aesthetic allure. This creation aims to provide fleeting moments of tranquil, uplifting respite, offering a reprieve from the daily pressures and routines of life.

Situated at the heart of a garden within a private residential property, a greenhouse was reimagined as a disco venue for the exhibition, activating the space and its surroundings with entrancing sounds and light projections. The public is drawn to the exhibition site by the sounds emanating from the space. Collaborators were welcomed to contribute flashes from their smartphones, forming a shared and personal engagement while spinning and manipulating the objects. This interaction continuously influences the space, keeping it in a perpetual state of transformation through ongoing activities.

The exhibition includes sonic components with an audible playlist of Ghanaian Highlife music, a cultural blend that combines jazz syncopation, horns, and indigenous Akan rhythms, playing throughout its duration. The playlist, obtained from Apple Music, an ad-free streaming music service, is played through a speaker. This musical selection is inspired by one of the primary image sources: family photo albums from Ghanaian households, particularly from that era. The music livens up the space, encouraging the audience to engage by dancing to its rhythm. The sonic archive associated with the exhibition iterates the Ghanaian culture of the mid to late twentieth century, featuring songs that underscore various social and political concerns.