The work "Riding the Line" (2025) engages with the physical and temporal conditions of my studio building in Pilsen, Chicago, creating a document that is simultaneously indexical and abstract. Although rooted in the specific materiality of the now demolished warehouse, it nevertheless opens onto broader questions about how artists occupy, record, and release spaces.

During final access to the now demolished Cermak Center, I used a public Divvy rental bike to repeatedly circuit the basement, camera oriented downward toward a star-patterned carpet. The resulting footage functions as an unstable index: the carpet pattern appears and recedes according to available light, occasionally interrupted by my shadow or collapsing entirely into darkness. What emerges is less a documentation of space than a registration of conditions—luminosity, duration, the mechanical cadence of cycling as a form of measurement.

The deployment of Chicago's "public" (yet privatized) bike infrastructure introduces questions of access, temporality, and municipal systems into the work's conceptual framework. Rented by the hour, the bike functions as both recording apparatus and timer, its presence marking the gap between public networks and the private artist workspace. The basement—architecturally a zone of foundation and support—becomes inverted: a terminal site rather than a generative one.

The star pattern itself operates as decorative remnant, indexical marker, or navigational field. It occupies the video frame as both figure and ground. Its repetition through the camera's circuit produces a seriality that privileges the act of recording over the recorded object, collapsing distinctions between process and artifact.