Elvia Wilk
cellular membrane, a star exploding, a face emerging from the darkness. A void, or a presence? A molecule, or a black hole? Dystopia, or possibility? Extinction, or transformation? The series of morphing radial shapes in Charlotte Pryce’s 2018 six-minute, digitally transferred 16mm film are impossible to identify—and, in their elusiveness, suggestive of that which cannot be visualized at all. One sees what one wants to see in them, or perhaps what one is afraid of seeing. Watching the film in 2020, I could not help but find
