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What the exhibition put together
The gallery presented Huang’s photographs of the people, tools, textures and creative process behind Jingwei’s work alongside the artist’s finished kesi tapestries. Leica Gallery Amsterdam described the show as multisensory, engaging sight, sound, touch and scent, and framed the photographs and textiles as counterparts in a dialogue between lens and loom. Those are the gallery’s descriptions of the exhibition, rather than a measured account of how every visitor experienced it. Leica Gallery Amsterdam’s exhibition description.
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Tom May’s account in Digital Camera World gives a more specific sense of the installation. He says visitors first encountered the craft, materials and method, then moved among the finished tapestries and Huang’s photographs. In May’s own response, that arrangement made details in the photographs—including the lines of a loom, grass and a Suzhou rooftop—more noticeable in relation to the woven work. That is one visitor’s observation, not a claim that all visitors saw the images in the same way. Tom May’s 30 September 2026 account.
Why place a photograph beside a tapestry?
The pairing made three useful contrasts visible: the labor of making versus the finished object; a woven image versus a photographic one; and documentation of a practice versus an artist’s personal response to it. These are ways to interpret the installation, not formal categories supplied by its curators.
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Process and finished object
A tapestry shows the outcome of weaving. A photograph can draw attention to the hands, tools, setting and decisions involved in reaching that outcome. In May’s account, beginning with the craft and materials before showing the works gave visitors a route from how kesi is made to what it can become.
Textile and photograph
Neither medium had to function as a caption for the other. May found that seeing the photographs alongside the tapestries changed what he noticed in the images, while the photographs offered another way to attend to the craft. The value of the pairing lies in that exchange, not in treating a photograph as a substitute for the physical textile.
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Documentation and response
Huang worked in Jingwei’s studio and around Suzhou, but May reports that he did not intend to make photographs that simply explained the technique. As Huang put it in May’s article: “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.” The quotation appears in May’s report.
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Leica Gallery Amsterdam identifies Jingwei as a Suzhou kesi artist and describes kesi as painstaking hand weaving. May explains the technique as silk threads stretched on a loom to form a base, with colored threads worked by hand; he describes it as a form of silk tapestry with a history stretching back centuries. This explanation is attributed to May’s account, rather than presented as a specialist technical guide.
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The gallery invokes the saying “One inch of Kesi equals one inch of gold.” It conveys the craft’s labor and value; it is not a literal pricing measure. The exhibition’s pairing gave that labor two forms of presence: the textile itself and photographs made in response to its makers and surroundings.
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May’s answer is an argument about human presence: time spent with a maker, attention to a place and the relationships formed through observation. Huang’s reported approach supports that reading. The photographs were shaped by his time in Jingwei’s studio and Suzhou, and by a stated intention to respond to what he encountered rather than merely explain the craft.
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That does not prove that AI cannot generate a particular kind of image, nor does it settle the broader debate about AI and photography. It points to a different measure of value: not only what an image depicts, but the circumstances, choices and human encounters behind it. In this exhibition, the photographs gained meaning through their relationship with the tapestries and the process they shared space with.
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May reports that Huang photographed on 35mm film with a Leica III, a black-and-nickel rangefinder from the 1930s. That detail situates the project’s process; it does not make a particular camera or film necessary to understand the exhibition, and May does not identify a film stock. The more consequential choice was how the photographs were placed in conversation with the weaving.
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