Synopsis: The piece exploits the tension between being able to see into a room but having physical access denied because the room is a hazardous area. The doorway and three TV monitors outside the room are the physical and virtual view-ports to that space which once was used to sandblast airplanes parts. The piece is overlaid by trampling sounds and a male voice continuously reciting Do Not Trespass Beyond This Threshold.

Inside the room, beyond the doors, a fenced vestibule allows visitors to stand and glance at video projections synchronized to red lights that illuminate the room. The sound of a meal voice continuously repeating Do Not Trespass Beyond This Threshold overlap with images of a naked man running outside the room. Images fit the wall opposite the entrance, and while effectively creating the illusion of seeing through, they open a virtual window to the hangar.

Outside the room, on the long side, two sets of monitors show interior images of the room. In one, the room is empty; in the other, one can see the naked man walking and running, sometimes violently kicking against a wall, the same inside the room which displays the man being projected. Continuing outside, on the short wall, a third monitor shows myself as a shadow over the walls inside the room. While images make reference to a remote and absent human presence, light, sound, video projector, and monitors engage with the viewer and mediate the boundaries of a controlled, off-limit space.

SandBlast was part of a collective exhibition entitled Objects in Hangar 2, curated by Sean Elwood and sponsored by the Seattle Art Commission.