Dealing with time, the spirit of objects and their worth, Casper Faassen started incorporating Japanese beliefs and philosophies such as animism, kintsugi and mono no aware into his still life photography. Working from his studio in Leiden and researching Japanese culture, he encountered Dr. Philipp Franz von Siebold, who had lived in both Leiden and Deshima in the 19th century and built an extensive collection of flora and fauna for scientific purposes. Without physically possessing most of the objects in the book, Faassen makes them part of his collection through the act of photography: surrounding himself with Jomon vases, Edo period ginger jars, and Wisteria plants brought to the Hortus Botanicus Leiden by von Siebold. He reworks, adds his language, questions and admires.