wafts   fine,


                                                                                      ,still agitation


The dust holds space in air before settling into flat layers that articulate the top-facing side of things and smooth edges into a deafening grey. Then a restless finger skirts between the cool dusty layer, letting out a gasp at the threshold of separation

                                            ,                ,        ,

                                                                            ,            ,    ,

Fabric bags composed of a light, cotton weave, are filled with dirt and spew a grey, gaseous cloud out the sides, while letting heavier particles flow out the bottom in a continuous spray. The weight of the powdery volume opens the weave, opens a permeable differential between release and containment. The particulate spray suffocates beams of light that catch the dirt in dizzying flight before they merge with drowning shadows. Dirt lands on paper sliced with long, hanging slits, falls through the fissures and lands in fine compositions defined by variations of sharp edges and loose particulate spread. The edges of tables, walls and floor also impose themselves in how they block, spread or allow the dirt through. The particulate dispersion burnishes dimension into formless direction as its vibratory movements seems to lift its own weight, or perhaps lift the weight of the room. Then the quiet settles the space into smooth, flat layers that connect the top-facing side of things in a deafening, mid-tone grey. Then a restless finger skirts between the cool surface and the dry, dusty layer, letting out a gasp at the threshold of separation.

Ping-pong balls exhale thrusts of pressure against the table's fine coating of dirt powder, leaving perfect circles of clear green. The air pressure generated in play contrasts with the vast windy horizon that blows steam from a distant smoke stack. The visible flow of steam in the wind sets the pace for the game, sets the pace of the continuous horizon and the even continuity of relay. This atmospheric consistency coincides with an intense duration of particulate dispersion, but also rules of the game that sustain the relay between the surfaces of quarters on the table, paddles and over nets. But the movement of particles is both smaller and slower than the pace of the ball—the taut hollow ball absorbs the forces of impact over it surface such that it bounces out of the frame just as the dirt begins to stir and lift. The frames per second of the video play back must slow, must slow to the scrutinizing pace of instant replay, honing in on the clear, perfect green circles that the balls make for landing. This play with the slowed audio playback resounds an excess of the moment in its low, resonant roar. Like the dispersion of particles in the wind, the sound is not contained by the spacetime of landing but becomes a recurring static wave, a pulsing undulation in time with choreographies where the punctuation of impact falls out of sync in dispersing weight and orientation. The intensity of the game is no longer anchored in the lifting and the landing between quadrants, but lands in the convergence of surfaces between breathy pressure and the noise of slowed audio playback.

The line returns, not as a trace in alignment with gesture, but as a volume that is coaxed into form with the tensile dynamics of a stretched surface. A smooth plastic sheet is stretched over a frame with fine, weighted with a volume of fine dirt powder laid on top of it. The movement of the frame bounces the surface in undulating tensions that lift and turn the particulate volumes into an ever recomposing linear form. The dirt powder elongates, as it gently responds to and remembers the bowing membrane between heaviness and dispersion. The turning lifting and falling draws force somewhere between its blunt contact with the surface under gravity, the jumbling collision with other particles and the coaxing of the taut stretch towards its extensive limit. The powder contour composes and recomposes the form of the line from textures that churn undersides into form and continually recompose the surface from under its lifting weight.

Rhythm draws powder contourswith edges that shiver loose volumes

    (dispersing the two-dimensional surface)

Like the textures of the continuous contour, where the line does not necessarily know the difference between surface, form, volume and direction, the particulate contour articulates the excess of dimension, in its jumbling, multi-sidedness. Like the textual contour that escapes the abstract form of linearity in consistencies of gestural movements of pivoting and doubling back, the dirt contour articulates where the contour exceeds the abstract in its own volume, in the infinite undersides of particulate consistencies.

Dirt Bags, 2014

Drawing Dirt, video 0:23 min, 2015

Dirt Blows / Wind Rally, video still, 1:13 min