Ouroboros//Body_404

Two human figures, entangled, holding and relying on each other. They appear fragmented—displayed in parts and arranged in a repeated formation. Their movement traces a rotation: first clockwise, then counterclockwise, ultimately returning to the starting position. A cyclical motion suggesting a fresh beginning, yet acknowledging time’s inescapable nature—a loop we’re caught within.

When first taking the picture, my camera was shaky. 

Dizzy spells, an error in the system, a distortion in perception, a glitch. 
Slow. Motion. 

Though time, carrying on at its usual pace, reliably, uninterrupted, indifferent.
Moving. Forward. 

This dissonance between internal and external realities, between internal disruption and external continuity, became central to the piece: a meditation on the disconnect between felt experience and the steady rhythm of being. 

Echoing sounds and a metronome underpin the piece, humming and ticking at 60 beats per minute. 
Resting heart rate.
The rhythm set at triple meter, recalling the organic swing of nature, a pulse that is both meditative, familiar, grounding.
It offers orientation, a sense of resolution,
echoing a pulse we all carry.

We push and pull, we disjoint and atune. 
Revolving in circular motion. 

Spending time. Taking the time. Lost time. Never enough time. 
A continuous flow of interconnected events, past and future. 

Like the ouroboros, we are caught in the act of returning, biting our own tails—endings folding into beginnings, again and again.