George Quasha's axial video, engaging the act of axial drawing on a train between New York and Rhinecliff, under the late afternoon light from the West, evolves in dynamic relation to the rhythm of the train and the play of light and shadow, where the “formal action” of light and shadow both mirror and reconfigure the drawing. Light shows itself as substance. This is an event of incrementally slow-motioning video not available to “natural” experience. By focusing below the framerate threshold (30 fps) the piece exposes the otherwise invisible gaps between rapid actions and invents its own strange beauty in which space itself is figurative and image is temporalized to the point of abstraction.