In Carriers and Manifestations (2024), we see various vessels placed on and around a table from different vantage points. An empty plastic carton, a glass tumbler, and some disposable cups and containers. Shot on 16mm, this film maintains the molecular grain characteristic of its material.In a series of static camera compositions – first a long shot of the whole table, then a side view that incorporates the window of the room that gives light to the scene, a close-up of the glass, and finally a three-quarter angle lending detail to the carton and tumbler, we see evidence of movement in the room. Shadows interfere with the image; maybe from a person off camera, maybe changing light conditions outside. The duration is just a little under 4 minutes, or 100 feet of film. As we, the observer, stare at the containers, the screen slowly dissolves to a blood colour, making the image fully opaque within seconds. Like we are closing our eyes, the world on view disappears to reveal the illuminated interior of our eyelids. This bodily monochrome remains until the film stock flickers consume the image with grainy yellows and flashes of light, not unlike the sensation and effect of rubbing our own eyes. Is this the simple dichotomy of the containers and manifestations of the title? The difference between an exterior reality and an interior desire?