In a non-representational grid, words become meaningless and irrelevant. A reflecting sphere - of which a lense is simply a part - distorts and misrepresents its surroundings. Anxiety and psychological pressure become tangible in A Symptom. Under the Atmosphere opens with the image of a mouth quoting from Jules Verne’s ‘From the earth to the moon’ through a hole in a mylar sheet. Circles, holes, and reflections re-establish a lost connection represented by the redundant spacecrafts on display at Cape Canaveral. Somewhere between the structural and the narrative, Blinder appropriates the ordinariness of a bedroom window to push and pull our attention between the inside and the outside. A theory held by Truman Capote connects the dots between an image and its representation in The Innocents. As a closer, Not and or seeks to define a perfect balance between virtual and real space: spinning computer-animated quadrilaterals alternate with versions of themselves that were re-filmed from the screen, merging analogue and digital worlds.
