Each of several colorful woodworked items with lovely looking shapes and textures is combined with a video camera and display, to form one compound object. The installation at large is composed of a number of such constructions scattered across the exhibition space. Some of the elements that make up each individual item—or in some cases, entire objects—repeat simple, somewhat clumsy looking but regular, repetitive movements, but even with the sounds the objects make during these operations, the entire scenery feels very quiet. There are no big noises, and nothing particularly noteworthy happens. The behavior of the work at large is not based on synchronized movements, but it is orchestrated as a concert of small, random occurrences. One effect of this is that the visitor’s attention focuses on the things that do or might happen in the exhibition space.
The images seen on the displays are generally filmed with the video cameras that are part of each piece, whereas the motion on the respective display is caused by the motion of the work itself. These images are incorporated as components of the individual objects. The movement that makes these integrated video images work at once as components and backgrounds of each item results in an ever-transforming mixture of different dimensions and dispositional layers, juxtaposing three-dimensional objects and two-dimensional imagery.