awashawave, with the alliterative title that slips by, is a group exhibition investigating figurative and literal interpretations of inundation and the resulting perceptual tensions and shifts of being one amongst many. In his study on Proust, Beckett stated that “the only fertile research is excavatory, immersive, a contraction of the spirit, a descent. The artist is active, but negatively, shrinking from the nullity of extracircumferential phenomena, drawn in to the core of the eddy.” This exhibition will resist such categorical declaration and opt to pay attention to the inherent fluidity of the eddy. awashawave will epitomize the blur, and wallow in the mud of perception. Examining the shift from the single image to the series, from the fixed to the unmoored, from a discernable point to a dense mass. Examining various facets of the concept of being flooded, awashawave will present a heterogeneous series of works: from a washing machine turned into a praxinoscope (Landry), to an audio work utilizing shortwave radio signals (Snow), to delicate ceramic objects made out of white speaker wire and diffusing sounds of washing (Kim), to images produced by a home-built scanner-camera that fuses digital technology and 19th century photographic techniques (Koroshegyi), to audio tracks converted into dense black and white 'sonic' images (Wood), to a video projection of someone doing the 'wave' in an empty stadium (Hirsch), to a series of abject self-portraits rendered in wax (Fortier).