TINPO (2006) is a short video work, lasting under two minutes, constructed from grainy, low-resolution footage of a domestic family setting. The scene appears immediately unstable. Rapid jump cuts, visual glitches, and distorted audio fragment the action, producing a sense of chaos that resists narrative clarity. At the centre of the video is a young boy who brandishes a gun, pointing it repeatedly at different members of his family. The reactions around him vary; an elderly woman continues eating while the gun is aimed at her head, seemingly indifferent, while others respond with irritation, frustration, or attempts to restrain him. Another boy, possibly an older sibling, appears to physically challenge him, adding to the volatile atmosphere.

What remains deliberately unclear is the seriousness of the threat. The gun initially reads as a toy, yet the aggressive gestures, rapid editing, and visual distortion render it increasingly ominous. Marcon’s postproduction decisions actively obscure contextual cues, making it impossible to determine the real power dynamics at play. Meaning is destabilised not through the events themselves, but through the way the media is treated. Compression artefacts, glitches, and abrupt cuts fracture time and intention, pushing the viewer into a state of anxious interpretation. The video recalls amateur footage circulating online reminiscent of lost media archives, internet mysteries, or found horror clips that seem to precede unthinkable violence. Yet TINPO never fully commits to catastrophe. When the boy pulls the trigger on the elderly woman, nothing happens. He then turns the gun on himself, pulling the trigger again with no effect. The tension collapses, only to be reconfigured in the final moment when the footage cuts to the boy facing the camera, gun gone, grabbing his crotch in a crude display of masculinity that feels unsettling given his age.

This closing gesture reframes the work as a meditation on the early performance of aggression and power, suggesting a troubling conflation of violence and masculinity understood through media itself. Rather than offering moral resolution, TINPO leaves the viewer suspended within affect. Feelings of unease, anticipation, and confusion foreground how editing, distortion, and circulation shape our emotional response more forcefully than the events depicted.