The video is edited so that the painted lined never touches the sides and there are no splits or turns in the lines. Runways have many such twists and turns, but I wanted the image to remain with us, never drifting off or dividing. There is nowhere to go in the resulting video, we stay in place and the video roves and roves.

Projecting the image in the corner of an immense empty warehouse with a rain water pond and leaves blown in under the door brought the space alive. The same image was projected on each site of a corner so that the image became a huge sprinting wall. A monitor, set where the two ends of the projection might jut out to form a room, was in opposition so that the image flowed out of time and at up and down.

Together the images formed a space within the space, a room or movement and light in a dark, cold cauldron. My hope was to create a huge, speeding image that brought calm and serenity.

A 2O-minute sound track built from a field recording of a broken escalator at Grand Central 7 train platform extended the piece into the entire building. Playing on room acoustics, the score balanced the image, pulling the piece into the far corners and encouraged viewing from all around the space.

Imperium,  was produced by Chocolate Factory and Harvestworks at the (future) Chocolate Factory in Long Island City, Queens during November 2018.  

Official description: A two-channel video piece, investigates the unnatural permeance of our human world. As the digital world shifts rapidly and the decline of the natural world escalates, this work explores how the physical infrastructure humans build to meet our transportation and shelter needs remain largely the same. The purposeful aimlessness of images combines with the tuned sonic resonance of generators and combustion engines to construct an experience of sealed time, an unnatural state of an anthropomorphic unawareness hidden below comfort.