Grazers

Serial scenes of similitude and difference are appended together like beads on a string. The artist stares into the mostly dark, quasi-modernist, light-punctuated abstractions that bracket subway platforms in New York; a children's choir sings Für Elise over a rotating merry go round in which horses are replaced by physicalized versions of kids' drawings; a series of drawings is triggered by a barking dog, alternating between figuration and abstraction, showing a discontinuous subject, blinking in and out of existence, intermittently obliterated and reconstituted by glyphs, trace marks, and asemic writing.

A series of animated stars.

We plot a course through an exotic pet store in Fresh Pond, Queens, filming the fish tanks one-by-one on my phone before zooming in on a sign behind the counter bearing a nationalist epithet. We slip into a hallucinatory space, as the letters of the sign slide and rearrange to read one of three different words depending on which version of the video you catch.

The front of a wrecked 1983-88 Ford Thunderbird appears to have been set on fire. Placed by its rear left hubcap is a yellow canister. The front tires are deflated, and both the hood and the trunk are splayed open. Each passing car has been removed; their presence registers through their headlights and brake lights refracting off the broken glass on the ground and the body of the Thunderbird. A bald man wearing boot-cut jeans enters the scene, inspects the car, then leaves.

The title draws on Nietzsche’s comment on modernity as an experience of radical relativization in the cosmos: 'Since Copernicus man has been rolling from the centre toward X.' I became less interested in 'X' representing nothing or negativity, and so I made it crooked, with the letter 'K.' Which brought to mind 'being OK' as a state and a goal: we are familiar with oblivion (X), we read about it every day. How to get to 'OK' is a more challenging and interesting problem. There are five em dashes between O and K — a state of abeyance, like living while holding your breath. — Vijay Masharani

Urchin foragers filmed at Mavericks beach, California.

An enigmatic portal in a single order of scrambled eggs in the hematology ward at University of California, San Francisco.

The third time I went to film the Junipero Serra statue by Highway 280, there was a semi-truck idling in the adjacent rest stop, and it caused my tripod to vibrate at a steady frequency, that, combined with the rolling shutter of the camera produced a jitter and skewing effect.

Mourning in advance begins with the artist walking through the Indo-Caribbean neighborhood in New York, on Halloween. It then cuts to found footage of a biker inadvertently recording his own seizure, and then falling off his bike. Through this rupture, the viewer traverses an undifferentiated psychic, digital, urban terrain.

Knot concatenates footage that I shot over my last four in-patient admissions for Ph+ b-ALL (Philadelphia positive b-cell acute lymphoblastic leukemia) at the University of California, San Francisco hematology ward.

After over half a year spent horizontal, in a nightmare, I became obsessed with the dreamscape of San Francisco's Billionaire Row in Pacific Heights.