Teresa Braula Reis draws attention to the often overlooked affinity between construction and destruction. Her work envisages the building not simply as a site of stability, but of mutability. The notion of temporality, and with that obsolescence, assume significance in her careful considerations of the structures she inhabits. In her first solo show White Helmet, Braula Reis presents installation, sculpture, video, and image transference prints that delve into different aspects of decay, precarity, and shaky ground as related to the built environment. With these themes in mind, she reveals the slippage, similarity, and overlap between these realms.