This exhibition began with a small painting of a mountain, made in a temporary studio whilst on residency in Chongqing. I packed-up that studio and took the small painting to a new workplace in Sydney. To connect these two experiences and continue the imaginary landscape, I began to intricately translate the painting into a three dimensional virtual environment that I could explore. The video and the 3D printed sculpture were made from a digital model of the ink painting. My ongoing interest in landscape painting and computer games has directed me towards a gap between the analogue and the digital — a small zone of irrationality where cultural, historical and personal narratives seem to share an absurdity, brought about via the dismantling of their means of communication. The various equivalents to rock, time and immensity — dry ink, celadon ceramic and layered pixels — seem as absurd as the reverse side of the sculpture. The formal transitions of this exhibition seek to hold open this, to gap allow narratives to expand from within the mountain.