In, merry-go-round like a lullaby atmospheric, pastel drawings of a bouncy ball vending machine are animated, and we see an array of balls journey through its workings until they ejected and bounce across a tiled floor. Chalky, colourful strokes of bright colours swirl through the screen, rendering the interior of the vending machine as a magical dreamlike world of its own. We are taken inside on a voyage, getting up close to the contents, workings, and journey of the kitsch and exotic objects; a mirror ball, a pool ball, and a spinning translucent heart are all conjured and then quickly dissolved. We are whisked through the life cycle of a bouncy ball that is in turn legible, representational, and realistic but also abstracted, microcosmic and otherworldly. It’s as much a depiction of the events as it is an imparting of feeling, a poetic register that is familiar to our childhood and yet simultaneously distant and out of reach, much like our memories. Accompanying this nostalgic, affective journey, is an evocative soundtrack. In the manner of a melancholic nursery rhyme, it lends a certain pathos to the film. Similarly to other of the artist’s works, in the audio we hear field recordings and foley techniques over the plucky emotive composition, too; the sound of rusty swings squeaking, distant fireworks exploding, a car engine driving into the distance, a glass marble rolling across a game board or wooden floor, crickets chirping, children’s voices emanating from a playground. These sonic components, combined with the visual elements, give a powerful emotional texture to the work. The repetition and circulation of imagery perhaps serve to illustrate how our memories themselves are in constant flux and evolution, incomplete impressions in the mind. Yet this film reveals that, despite its fallibility, the mind is able to construct memory in such a way that recalls feelings and experiences that transcend normative understanding of images, duration and representation.