The video monitor, which the viewer encounters first upon entering the room, sets the mood and cadence for the approach to the installation. Thevideo screen depicts a dense landscape of underbrush and ponds. The image, a looped-30 second computer sampled segment of video footage, attempts to recreatethe strange sense of distortion I encountered in a dream where a flat terrain warped up into view obscuring the horizon. In the video segment selected theperspective drops from a few dozen feet above the ground to the edge of a continuously approaching topography. A complete shot of the landscape is never shownalthough one expects the camera to rise above the horizon line at any moment.

This view from above while moving rapidly across the wooded terrain is interrupted only by the reflection of blue sky in the ponds below. Theimages, which have been altered with an image processor, have a color and texture that is odd and unfamiliar. They have been described by art critic JeanneGreenberg as, "making the landscape appear self-generating with its kelly greens, stark whites, and fluorescent blues." This modulation of color andjuxtaposition of earth and sky is a recurrent theme of mine, a metaphor for disorder. Here in this installation the video tape hints at a horizon which is impliedin the distance. But this horizon is never seen and it is this that generates the viewers urgency of expectation. As Greenberg points out, "This tape, then,with its relentless movement and saturating view, becomes a primer for the tension between the work and the viewer."

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