A single white line of video light moves slowly over a pile of stones and debris. It is unclear to the viewer whether the pile is made from the raw materials for future building, or if it is the remains of a demolition or a structure’s decay. Whether pre- or post-construction, the pile represents a position near the bottom of the arc of becoming: an entropic assembly of material either to be composed or decomposing. Across this, the white line of light cuts a kind of index mark, a way of traversing the material’s topography in time.

The line of light operates dually, at once “playing” the rough material texture and form that it glides across (as if it were the long white cursor ubiquitous in audio software interfaces), while simultaneously being deformed by that very material texture and form. And this dual functioning of the line reflects itself back upon the material it describes: if the line is a cursor, the pile becomes the elements of a composition-in-process, while if the light forms a line of topography, the pile is its landscape, its given environment.