While walking on Bukudal land, on an Arnhem Land beach where the Sun’s intensity seems amplified, Ferracin became entranced with the curious symmetry of jutting weathered Casuarina tree roots and their high-contrast shadows falling on glaring sands. She spent hours locating and photographing various examples, noticing the shadows’ slow shape-shifting as she wandered back and forth.

Living tree roots, life-shaped by environmental vagaries, emerge from and loop back into white sand, cyclically wet by tidal flows, parched by evaporation, sculpted by Wind, Rain, Animal. Strong hot white Light - finally blocked by earthly surfaces after millions of kilometres of empty space - bounces, reflects, refracts. Dependently, Shadow appears opposite that stoppage - creeping, immaterial, essential, distorting, mapping time and terrain.

Defining form by absence of light, Shadow is primordial projection - our most ancient method of reading Time. We sense Time’s flow in our bodies, but the shifting form of Shadow is an external evidence floating in the landscape, available to vision, provoking enquiry.

thrown riffs on this primordial interplay of form and emptiness by substituting an original poly-dimensional space with a planar photographic representation, displayed unconventionally as a suspended horizontal surface. Selected from many possibilities, the photo used in thrown exemplifies characteristics of the enso of Ch’an and Zen buddhism - asymmetry, natural form, subtle profundity, simplicity, emptiness.

A spotlight - an electronic Sun analogue - beams down from above, illuminating the evidentiary image and simultaneously activating a secondary representation system. Multiplying absence, a primitive presence, Shadow is evoked on the gallery floor.