My take on this powerful material was to select a few loaded symbols and play with their codes such as a potato, gun, chips, pill, hour-glass and skull. To contradict the materiality of gold I removed its mass transforming it into something which now hovered in space. As the digital asset sits motionless it suddenly explodes outwardly and then implodes back in on itself as it dissolves into a new sign. The sweet potato explodes and then dissolves into the reversing AK47 explosion to become once again magically whole. The desert backdrop to this mesmerising physics speaks to the colour of iron-ore where gold is separated out from. For anyone witnessing the megalopolis of an Australian gold mine it makes Job’s behemoth look like a chihuahua labradoodle.

To destroy something is exhilarating, whereas to build it back up again can be just as rewarding. We can’t help ourselves; it is a like a terminal disease … inflation-disagreement-war-destruction-resolution-consensus-peace-prosperity-inflation … where the whole cycle repeats. It might take fifty to a hundred years for a global conflict to take shape, but we are all trapped in this historical process without being able to get out. Some say if we are to circumvent this disease, we must destroy the entire system, start from ground zero, or just be more humane and invent fairer systems. However, we all know that if you take away food security or if global food networks crash, we are all doomed. The card that trumps all.

The still scene showcased a composition of all the gold assets subjected to a desert storm on the floor of the desert. They are gradually devoured by the sand, a poetic ending using the cliché ‘the sands of time’ to talk about the temporality of life, ritual and what once was visible now becomes hidden.