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Leica Gallery Amsterdam’s Threads of Time: A Journey Through Silk and Lens paired Jing Huang’s photographs with Jingwei’s kesi silk tapestries. The exhibition ran from 11 to 15 September 2026 in collaboration with Lexar; it has ended. Its more interesting idea was not simply to display two kinds of art side by side, but to let the weaving change how visitors looked at the photographs—and the photographs change how they saw the weaving.
What Leica Gallery Amsterdam presented
The exhibition brought together the work of Jingwei, a Suzhou kesi artist, and photographer Jing Huang. The gallery framed the photographs and tapestries as counterparts in a conversation between lens and loom. It also described the show as multisensory, engaging sight, sound, touch and scent. Those are the gallery’s descriptions of its own presentation, rather than a claim that every visitor experienced it in the same way.
Kesi is a form of silk tapestry made by hand. In Tom May’s account for Digital Camera World, silk threads are stretched on a loom to create a base, and colored threads are worked in by hand. The gallery’s saying, “One inch of Kesi equals one inch of gold,” conveys the craft’s labor and value; it is an expression, not a literal price measure.
Why the order of looking mattered
May describes an installation that introduced visitors to the craft, its materials and its method before they moved among the finished tapestries and Huang’s photographs. That sequence made the process part of the encounter, rather than background information attached to finished objects.
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In May’s account, details in Huang’s images—the lines of a loom, grass and a Suzhou rooftop—became newly legible beside the woven work. This is a personal observation about this exhibition, not a measured or universal response. But it points to what a pairing can do: the textile gives the photograph material and spatial context, while the photograph can direct attention back to the textures, surroundings and labor behind the textile.
Huang’s photographs were a response, not a visual instruction manual
May reports that Huang worked in Jingwei’s studio and around Suzhou, photographing on 35mm film with a Leica III, a black-and-nickel rangefinder from the 1930s. The equipment is part of the story, but the more revealing distinction is what Huang said he wanted the pictures to do. As quoted by May, Huang said: “I was not trying to explain kesi through photography,” he explained. “I wanted to respond to what I encountered in Suzhou: the threads, the atmosphere and the spaces between things.”
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That intention separates documentation from personal response. An explanatory photograph might aim to show a technique clearly; a responsive photograph can convey what it felt like to spend time around the work and the place where it was made. The exhibition did not require one medium to translate the other completely. Instead, visitors could move between a woven object and images shaped by Huang’s experience of its surroundings.
What is photography worth when AI can make an image in seconds?
May poses the question, “what’s photography worth when AI can make an image in seconds?” His answer is grounded in human presence: time spent with a maker, close observation and the relationships formed through that attention. This exhibition offers a persuasive example of that value. Huang’s photographs were connected to particular people, a working studio and a place; their significance in the gallery also depended on what visitors could see beside them.
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That is an argument for the value of a photographer’s process and point of view, not proof that AI cannot create a particular kind of image. Image-making speed and the experience of spending time with a craft are different things. A generated picture may be visually convincing, but it does not, by itself, establish the same history of attention and encounter that Huang described.
Independent reader supportYour contribution helps us test, update, and keep practical guides available for everyone.What this exhibition’s approach shows—and what it does not
Putting process, finished textile and photography in the same space gave visitors several ways to approach the work. The useful comparisons were not formal categories announced by the gallery, but questions the arrangement invites: process versus finished object, textile versus photograph, and documentation versus an artist’s personal response.
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May’s report suggests that one medium can sharpen attention to another. That is a compelling case for exhibition-making that treats context and neighboring art forms as part of the experience, rather than presenting photographs as the only objects that matter. It remains one writer’s response to this particular show. The available accounts provide no attendance figures or audience study from which to claim that visitors generally responded in a specific way.
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