In his exhibition, New Work, Alain Paiement expands on his investigation of constructed images and architectural forms. As with his previous series, he creates several complex compositions constructed from hundreds of individual colour photographs that are "stitched" together in a digital process. In a departure of subject matter, however, Paiement moves away from the physical spaces of architecture and interiors to address the organic and celestial. Presenting images of soap bubbles and foam, he offers the viewer a new look at the familiar and seemingly banal. The compositions are large and close-up, set in varying shades of blue that suggest water and outer space, thus appearing sub-aquatic and celestial.

Paiement continues to play with natural geometric forms. In Fluid Mosaic 1, bubbles become sculptural, resembling glass balls that plunge the viewer into a microscopic world. Spheres join to create irregular polyhedrons and iridescent prisms. Presented in a thin horizontal format, depth shifts and the intervals of blues are rhythmically activated as the viewer passes them. He transforms the everyday into the poetic. To quote Paiement: "The whole constitutes a musical score composed of links, dislocations, rifts, silences and punctuations."

Challenger flight 51 L exploded on January 28, 1986, 73 seconds after launch. The disaster was broadcast around the world. Much like the Kennedy assassination, the Apollo 11 moon landing, or, more recently, 9/11, the Challenger disaster was an instance where the act of watching became part of the event. People remembered where they were and folded it into the context of the tragedy.

The application of lenticular technology acts out this aspect of the disaster. The viewer is engaged in the creation, modification and the storytelling of the event. Lenticular technology only succeeds with the participation of the viewer, creating an active viewing relationship that is in direct opposition to the passive agency required to view the fleeting images in video. Here, the 20-30 frames contained within the lenticular, combined with the spectator's motions, activates the technology, engaging the narrative by making the video clips move forward or backward in time. Additionally, the viewer dictates the rate of their own experience with the lenticulars corresponding to the speed of their movements. This technology formally connects active viewing to the act of viewing, the self-conscious viewing that is inherent in collective history.

Along with active compilation - images stacking up to create a whole - lenticular technology also allows for the opposite action: undoing, going back in time, the reversal of events. Disrupting an established historical narrative forces us to reconsider not only the images but also how history is made, the nature of memorialization, and the impact of the image over time.

A few hours after the Challenger explosion, President Ronald Reagan delivered a speech to the American people via nationwide radio and Television. "We've grown used to wonders in this century," he said, alluding to the everydayness of space travel. But he also referred to the crew of the Challenger as pioneers, as brave, and as overcoming their fears: "It's hard to dazzle us." Still brutal, still resonant, there are certain images that are iconic  – the Zapruder footage, Neil Armstrong bouncing on the moon, the Challenger explosion, images that ask us to keep watching ourselves to be dazzled.