It goes through walls.

Through me and you.

Processor builds on a thread of previous projects concerned with the flow of influence and desire mediated by technology. The exhibition aims to present forms where virtuality becomes bodily by bringing together performance as relay, sculpture as choreography and stills in flux.

Some of the work in this exhibition was made by the pressure and effort of one’s body. Some other work was made by letting light through. Plotter prints on polyester filter the light in the space. In this work, Boustrophedon III, the lighting strips overhead are a small part of a larger work that remains unseen. A photograph has been enlarged to the size of the ceiling, though only manifesting onto the LED lamps. Leading to a work made of coloured light as much as it is made of gaps. Like the tip of an iceberg, the work hints at the hidden parts of systems beyond what we can see. In this ‘negative space’ the live wires, fuses and kilometres of cabling running from the power plant to the city remain as they are, out of view.

A work done in situ with aluminium paste, GABA references the neurotransmitter which promotes a calming effect on the nervous system. Although amorphous in shape, the mural is thought of as a form of sculpture engaging the audience as they move through the gallery by refracting light back to them as they pass by. This work becomes a projection screen for the performance Magic Words for Landfill, which compresses together a cascading of terminology gleaned from online buzzwords, HR manuals and corporate apologies. The performance is written and performed in English, the language of the cultural hegemon. It aims to ask, who speaks when I am speaking? Who speaks when I use another’s words? It will be presented a few times during the span of the exhibition.

Framed on the wall are two series of works on paper. One is Ecran (I – IV) from a collection of ink drawings made with trace amounts of diazepam – a lick of the brush and no more. These medicated drawings are made to the size of a computer screen. Each drawing has a counterpart where the colours are inverted, though it is not clear which is the original and which the inversion.

A similar play between negative and positive happens in Untitled, from a series of silver silkscreens with décalcomanies in tertiary colours. These images are made with the weight of the artist’s body by pressing ink onto the paper, producing aleatory patterns. Due to the lighting and the interaction of the colours the silver layer switches from a negative to a positive image depending on one’s placement, holding the potential for both in the same image.

Processor asks what comes out of the screen as we go inside of it?

It goes through walls.

We wade through it.