Drawing I (Prometheia), 2018, single-channel video installation.





In a darkened gallery space, the low rumblings of an underwater current continually rise and fall in a one-minute
loop. On the floor, in the center of the gallery, a video is projected downward onto the surface of a 4x5x2’ platform.
As the sound of water builds, an image of rippling black liquid emerges on the surface of the platform. Bubbles
form and begin to circle (...)


Drawing I is an unsettling vision, it conjures up an allusion to hydromancy (the practice of reading
signs in the linear patterns formed by moving bodies of water). Though, as a form of divination one
could dismiss this ominous spectacle as merely a reflection of the fear and anxieties that underscore
our current era of rapid technological advancement, global economic disparity, and looming ecological
disaster.


(...) The low rumblings of the underwater current continue to build as small clusters of bubbles spiral on the inky
black surface. The vision turns. A vortex forms and a drain is revealed as the liquid is voided. Drawing I fades to a
silent blackness, and begins anew (...)

The formation of lines in Drawing I are the result of material forces that have been set in motion. In this
sense, Drawing I is less a charting of futurity than it is an immanent unfolding of elements which have
been suspended in a digital format. Still, the evolution of this mercurial surface evokes a sense of
corporeality. As a result, this allusion prompts a number of unanswerable questions: Can Drawing I be
read as symbolic letting go or a cathartic casting-out of some bête noire? Could this spectacle be
understood as a metaphor for a post human dissolution of the boundaries between man, nature, and
technology? Or, as alluded to earlier, does Drawing I simply lend itself to a recollection of the affective
complexities that arise when facing both the fear and the desire to know what is to come?