Washed in waves of pulsing anxiety. The beach scene in Drive: Night. The waves crashing. The pulse of the lighthouse cutting across the shoreline and out into the sea. This pulse will cut you down if it wants to. Bathed in rays of inauspicious serenity. The final scene in Irreversible: Day. The camera pans and swirls through the park. A nauseating swirl. It’s dizzying but not only because of the motion. Something undermines the pleasantness. A juxtaposition of harmony and cacophony. All at once. Then one after the other. Fading to white.
“Gaze/Gauze” traverses eerie ambient shores and sea-soaked cliff sides before building up to a landscape of washing, waxing, waning, whirling electronic assemblages. There’s a hint of martial industrial if you can catch it. Then it all recedes. The tide goes out. The moon rises. The sun sets. Again and again and vice versa ad infinitum. Everything is as it was. Everything will be as it has been. Nothing is different and nothing is the same.
MUNITION is the effort of Dexter Outhit. Toronto by way of Halifax. The debut tape, “Entry”, appeared on Strange Material last year and Absurd Exposition is pleased to present this work of a promising new artist in the field.