These four moving drawings recall the attitudes and aesthetics of the dada movement that emerged in Switzerland as a response to the absurdity and horror of World War I. Dorota Mytych says: "They are made with humble materials and processes and are rough, gritty, faint, and low res. In this way, they echo the physical quality of drawing on paper. They have the feeling of found footage, which becomes prophetic."

In looking at one or all of these images, we can observe a gradual transformation as sand is manipulated to suggest objects both profound and mundane. These objects include constellations, cups, and landscapes merging with works by Turner, Rembrandt, Manet, and McCubbin. The images appear and disappear, recalling the chemical processes of photography that produce images according to exposure times. Our own extended exposure to the drawings is crucial for Mytych, who strives to create a contemplative space of "slow" engagement.