Upon entering the room, I saw immediately the necessity for being silent. The projection of five simultaneous but different video footages at once was overwhelming but compelling, and enough so that I felt the instruction to simply appreciate and not attempt to impose my input on the work.
There was a development involved with the unfolding of the installation, in terms of where attention was directed, as well as how the content of the videos were changing. There were subjects that stretched from personal to historical to cosmic to textual and each revealed an aspect of time that could not really be understood separate from one another. His introduction of industrial and colonial elements are also apparent in the substance of the installation. Although it was at times confusing because there were inclusions of personal elements, the overall tension of the piece was very intimate yet surreal. My greatest reap from being a viewer was the dislocation and dislodgment I felt from being so far away from everything in time, since perceiving time in a way that was so dysfunctional was refreshing.
Other than the installation, I also saw the massive structure that moved in a steady, rhythmic manner which was not only a balancing contrast to the video installation but a reminder in its tangible sense that there is more to the reality of time than what its intangible appearance forsakes.
Despite the fact that time became less of a measurement through the splicing and chaos of the videos, time as a context or standard cannot exist without first acknowledging its presence as a measurement. The exhibition successfully raveled me by creating a void without time, whilst simultaneously emphasizing the projection of time in all other places but there.
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