A decade of genetic breakthroughs, morphing forms. A decade of permeability and slippages between object and image, actuality and simulation, reality and virtuality. They utilize technology in ways that seem relevant at the turn of the millennium. Almost without exception, their works express time in terms of persistence, recurrence, duration, instantaneity, and random simultaneity. Time, in their kinetic works, does not proceed along a linear path into a future.
Motion is detached from ideas of progress.
Instead it drifts, floats, twitches, breathes, morphs, strobes, or erupts in frenetic activity. These works, with their vanishing objects and apparitional images, their immaterial spectres appearing and fading away, propose a concept of time that has to do with the perpetually dissolving present, the cyclical return, and perpetual recurrence of inhalation and exhalation. Instead, I offer a three dimensional window into an ontological bazaar where self deception is an oxymoron. Obliterating time and space, it offers an elusive but recurring pictorial sequence that addresses the persistence of religious iconology and the simultaneity of belief and disbelief. Harmonic Distortion is a pair of pendular mannequin heads.