Psalms

Apart from the faint clicking of ultrasonic sensors, the occasional clunk of motors engaging, and the random squeak of rubber tyres on polished gallery floors, Psalms slowly and silently performs it’s graceful, predefined figure of 8. It would do this forever until interrupted by a gallery visitor standing in its path, and then, politely it stops and manoeuvres around the obstacle to renegotiate its trajectory. Only then does the obstacle, more used to looking at stationary objects on walls and plinths, realises they are in the way, oblivious of the performance of this empty autonomous wheelchair defining a space where the artist once was - an algorithm of absence.