This speculative site manipulates the perception blurring of the horizon line and through the lens of artist J.M.W. Turner’s painting The Slave Ship. An epitome of Romantic maritime painting, Turner depicts a tumultuous disorientation of water, leaving behind scattered forms in its wake. Indications of an emphasis on the movement of nature rather figures evokes concepts of intensity and “the sublime.” The quick, frenzied brushstrokes of Turner’s painting are translated into particle movements of varying distances and speeds from the speculative site. Ideologies of obscured figural expression and frenzied movement transform the site from a vestigial factory scan into an act of manipulability prioritizing the horizon over the figural expression of built form. 

Here, the movement of the fictitious site functions as a cyclical pendulum emulating the ebb and flow of the horizon line. The formal action of aggregating different point cloud scans of abandoned factories creates a “seamless manipulability” between perception and the recognizability of ground line between edifice and horizon. Different scales and moments of micro-movement of the horizon are utilized to craft a sensation of oscillation within the installation. In the foreground, particles are distinctive, become blurred through the cascading movement of the background. Figures from point to site are defined not by borders by rather by contrast with the surrounding pigments. Indistinct shapes and turbulent movement assume a spatial role within the installation of monitors that span from edge to edge, creating an immersive experience of disorientation.