What’s going on here? Field recordings Seth made of a summer's lightning storms are mixed with thin sine tones that have been tuned to the gallery space.  Video projections of heavy rain on shallow water are bounced of similarly shallow water in specially built metal trays, shaken by the sound of thunder.  The gallery will be almost completely dark, save 3 bright rectangular pools about an inch deep. The light coming from the pools is a video loop of a puddle during a rainstorm.

We at Arika wrote a thing for a John Butcher CD which applies here, so we’re going to be lazy and just include it: “As you and I know, sound is relational. It doesn’t travel in the straight lines of Euclidian geometry, from A to B like a train or your plumbing. It propagates, like a gas. Sound leaks round corners, is focused by curves, travels at different speeds through metal, stone or water.  It articulates space and time. Unlike light, which to all intents and purposes is instantaneous, sound moves slowly enough for us to understand.” We think that these distinctions and differences apply to Seth and his work, but brought together and synthesised: how do you look at sound and light, but rather than think of them as separate, consider them to be co-joined at the point of their creation in some way?