Displayed at the gallery doorstep, Daniel Rozin’s Weave Mirror assembles 768 motorized and laminated C-shaped prints along the surface of a picture plane that texturally mimics a homespun basket. A seemingly organic smoky portrait comes in focus to the sound of clacking steps made by the sculpture’s moving parts. Informed by traditions of both textile design and new media, the Weave Mirror and paints a picture of viewers using a gradual rotation in greyscale value on each C-ring. A playful juxtaposition between the rustic and photographic, this sculpture is suspended from the ceiling. Its functional circuitry and wiring is visible behind the picture plane, exposing its genius craft.

Also exhibited for the first time, Rozin’s Peg Mirror comprises 650 circular wooden pieces that are cut on an angle. Casting shadows by twisting and rotating in unison, wooden pegs forming concentric circles surround a small central camera. The mirrored image produced in this work is activated by software authored by Rozin that processes video signals and breaks up imagery geometrically, seemingly pixel by pixel. The silently moving wood components in this piece flicker like jewels or coins in the spotlight, challenging our notions about what constitutes a “digital object”.

For more than a decade Rozin’s art has employed a wide range of materials including chrome spheres, flat wood panels, and city trash from the streets of New York. Software art that links screen-based performance with real- time video processing has been another focus of Rozin’s efforts since the mid-1990s. The Snow Mirror, which uses an artist-authored algorithm that floats site-specific visual imagery of the immediate past into the present, hovers in the gallery mid-air as a projection on silk fabric. Exhibiting for the first time in the United States, the Snow Mirror debuted at bitforms gallery in Seoul last year.