Guarded explores chance, accident, and our precarious relationship to expectation. Two video projectors, two DVD decks and stereo speakers are all mounted on a rotating turntable that sits in the center of the gallery space. As it turns, the projectors throw images that follow each other around the opposing walls. The projections move across the wall much like the beams of a searchlight, revealing events, text and voices that are somehow already there, embedded within the space. Because one of the two video projections is always behind you, Guarded evokes the eerie sense that the most important events occur behind your back. Bursts of text (modified versions of a document recently circulated by the Red Cross entitled “Preparing for the Unexpected”) run through the images and around the room, sliding in and out of sight. A date stamp pounds future dates relentlessly into the wall, a child and woman follow each other around the space, a wedding occurs, fires burn, money is exchanged, cars are driven; little things become ominous, the monumental mundane. Together, sound, rotating projections, and text threaten a catastrophe made more ominous by efforts to avoid or prepare for it.