The work will look something like the following. I will add and subtract to this list as necessary, obviously. Further, most everything in this list will change in the process of producing the exhibition, including titles. I have a lot to say, but apologetically, language will fail in communicating much tangible form at this stage. I have a general notion of what I would hope the work will do, but unsure how it will amass, yet. Yield is always such a problem. I will do my best. Please trust me. 

Reverse Crane Actuator 

I’d like to start with a redundancy. It is a nude redundancy flipped on its axis, its mirror twin being in the subbasement. I imagine that this work will be the only piece in the ground-floor gallery. 

I believe that this will be the inverted “frame” to the Exposure Unit that I describe below. 

Because of its responsibility, the frame, I suspect, is a “welded” yet light structure that is capable of harnessing the large reflectors and mufflers of the Exposure Unit. 

In this ground-floor gallery, I have considered here installing this down from the ceiling. There is an ambivalence to this, and I know that the ceiling represents challenges technically, in hanging. But, it would be nice if it was not reliant on the floor for support. 

I’d like the floor of the main gallery and the ceiling of the subbasement gallery to be a sacred piece of meat in a hamburger bun. 

Nevertheless, this crane frame will be the initial interface. It will be underwhelming. It will address the work below. It might, it might, incorporate some sort of data acquisition device that we could cable to the basement—this could allow the gallery attendant information on what is happening upstairs. 

Exposure Unit (Mirror Crane) & Exposure Control Unit Actuator

This is the doozy. It will demand an unfortunate amount of attention, but is the root system of production. I don’t even know how to start talking about this without a huge smile coming over my face.