TRACER, 2017, single-channel video installation.

TRACER features an uncanny duet. Two small children appear to be in the midst of a dispute.
Documentation of their argument has been slowed down, superimposed, and reflected in a
mirror-image. A Rorschachian pattern has been formed.

The combatants silently mouth emphatic utterances in slow motion, they take turns
demonstrating their frustration and indignation. Fingers are pointed and arms are crossed.
The pantomime is oddly familiar. It is distinct and deliberate.

The camera movement implies a handheld device. Who stood to witness and preserve this
conflict? What is to be taken away from this highly-stylized performance?