Lying on the gallery floor are twenty-nine body length, glass mirrors which are broken and, in some spots, nearly are back to dust. In the radial patterns of the the shattered material are the loud memories of a hammer's metal clink. This installation, called "29 or 30 or a Thousand, Million Mirrors," is then activated by three projectors which land on the reflective shards and propel fragments of the Image onto the walls. An improvisational sound recording of synths and bell tones plays in the space. The projected video channels of an improvisational praise dance duet and solos spill into each other, as they fall out of sync more and more with time. The reflections of the footage assemble onto the walls in such a way that they are intensely abstracted, yet the movement of dance performers can still be discerned. In one of the projection’s reflections on the wall, the fragments of light are big enough to show the detailed portion of a face, a hand, or an eye, if the viewer waits to see them. Two candles burn in the corners nearest to the door, gently illuminating the wall of the gallery where no projector is aimed.

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