Folds of Oil is one of Tishan Hsu’s first forays into moving image after decades of working in sculpture and painting. Its bleeping soundtrack, which includes abstracted animal sounds and the heavy breathing of a human, aided by a ventilator, accompanies images of various bodies and landscapes warped and distorted into a strange mirage of visual material: pre-historic animal eyes, swimming fish, fields of grass and close-cropped human bodies all converge on the screen. The uncanny images and haunting soundtrack present bodies as unfamiliar and as illusion, and as the film’s sound and image unfolds, we sense the presence of something beyond the physical, beyond the spectacle. The combination of sonic and visual elements gives weight to the work, a weight that suggests a certain type of inhabitation. Amongst a practice that usually centres the object, this time-based work lends another dimension to the worlds Hsu invites us to inhabit and suggests we share it with others. This suggestive ‘other’ may be the subconscious, it may be the presence of human and non-human actors within our reality that we must continually contend with, or it might also be the myriad algorithmic, non-human consciousnesses that we increasingly have to confront and navigate.