After selecting these images, Sarty used overlapping video mediums by filming the VCR/TV screen with an 8mm camera on black and white film. From there the film was developed and digitised, and Sarty manipulated the images further, halving speeds and lengthening and stretching them further finding molecular, granular space in the frames. What initially seemed to be a single frame in the background of a karaoke display is rediscovered as a small ecosystem of static and texture for seeing.

The texture that rises from the manipulated images in the video echoes the rolling glow and density of “Most.” Both the song and its accompanying video are meditative yet expansive forces that are slow and glowing but also create a feeling of infinite possibility, looking further inward and focusing closer on something until its microcosms are deconstructed, and the bits that weren’t initially perceptible become of the focus of our attention to create a feeling of sedative warmth.



