In this work, I use a public Divvy rental bike to repeatedly circuit the basement, camera oriented downward toward a star-patterned carpet during final access to my former studio building. 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" 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.

This gesture extends the logic of "opportunistic art practice," in which spatial transition operates as medium rather than backdrop. What remains is not preservation but adjacency: a durational trace positioned alongside demolition, structured by the gap between the artist's departure and the building's erasure. 

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.

Later, this project became one of the stepping stones that led to the conception and realization of the first by bye iteration at the Cermak Center.