This practice-based work consists of a slow-motion video in which a red line is drawn across a white canvas. The act of painting unfolds gradually, transforming a simple gesture into a temporal event. The red line becomes a metaphor for the fleeting and unstable nature of the present moment. As each brushstroke appears, it immediately recedes into the past, leaving only a trace of what once was—an index of temporal passage and disappearance. The line thus represents the infinitesimal threshold between past and future, an ungraspable boundary that cannot be inhabited, echoing Virilio’s (1991) notion of dromology and Derrida’s (1967) différance.
The performative interaction between body, gesture, and material is central to the work, aligning with phenomenological and post-structuralist perspectives on perception and temporality. In resonance with Merleau-Ponty’s (1945) phenomenology of embodiment, the act of painting becomes a tactile experience of duration—an encounter between consciousness, matter, and time. Similarly, Deleuze’s (1985) exploration of time-images provides a conceptual framework for understanding how the slowing of motion suspends narrative progression, allowing time itself to become visible.
Through its deliberate deceleration, the work transforms a physical action into an ontological inquiry. The slow-motion temporality invites an introspective engagement with the impossibility of the “now,” proposing that the present exists only as a process of continual becoming and disappearance. The project thus operates as both an aesthetic and philosophical experiment—an embodied deconstruction of the present through performative, time-based representation.