The ephemerality of time and the slippery ambiguity of memory runs like a thread through Michelle Stuart’s multi-faceted art practice which stretches from large-scale earth works and photography to multi-media installations, drawing and print. If archaeology is the study of artefacts then photography must be its modern apprentice. Nowhere is this more apparent than in Stuart’s majestic grids of inkjet photographs that combine images of birds, plants, landscapes, planets and fossils with fossilized shells and bones, earth and rocks. “Flight of Time” (2016) combines eighty-eight mostly black-and-white inkjet photographs into a striking mise-en-scène that spiritually links Stuart to Joan Jonas’ on-going engagement with nature and the pursuit of the vexing question of how we perceive time. Like Proust’s madeleine dipped in tea, fragmented imagery and archaeological artefacts provide the wobbly cornerstones that links history and time. For our conception of history is based upon the modern innovation of chronological time and scientific inquiry that replaced the mythological and spiritual readings of early humankind. Stuart’s compositions take us back into that metaphysical realm of intuition, freed of linear history, where a multitude of images provide the string on which time itself hinges upon. At Galerie Lelong through March 9.