Drawing I, 2016, 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?