In The Shape of a Void, Ginny Casey translates Dalí’s composition into a conversation of forms. She approached The God of the Bay of Roses from a purely visual standpoint, reducing its drama to three essential presences—each shape a quiet echo of the figures in Dalí’s original scene. Working from her long exploration of vessel-like forms, Casey builds a narrative through balance and relation rather than story or symbolism. The result feels both architectural and psychological: three entities suspended in stillness, charged with the tension of touch, gravity, and silence. In paring back the image, Casey finds something elemental—an equilibrium between body and object, absence and presence.