A fusion of films and stills made during the night on transatlantic and pacific flights , juxtaposed with a series of filmsand drawings tracing Eliza’s (and my other daughters) earliest schematic development- a stillness of pre-occupied inertia as a counterpoint to raw kinaesthesia. Optimism is fused with disconcertion.

A state of dishevelment exists both perceptually and conceptually. One views a vanishing point that dissolves into a dark exotic void. The airplane becomes an ecclesiastical space— the correlation with the cathedral is no mere cipher. Our gaze is seduced by an ominous yet exotic blackness, which momentarily eclipses the visible structure of renaissance perspective. 

The series of works on paper are collaborative works made with my daughters. They juxtapose drawings and paintings with monochromatic photo screen prints of images taken from the rear of the airplane. As auteur director, I have unashamedly harnessed Eliza’s raw energy in these tightly edited works. In some instances combining my mark making with my daughters.

Repeatedly, the works offer a series of poignant counterpoints between Eliza and the airplane. Between the future and the past. Between the spaces created through the transference of material from one medium to another. Between tacit clouds that may defy the need to categorize and consume. 

There is a conscious referent through the mixing of ingredients to Max Plank’s Law of thermo dynamics and to the beginning of the 20th Century. As we enter the new millennium the entropic state bares witness to a shift in emphasis from physics to biochemistry (from description to prescription). Optimism is fused with disconcertion.
— John Beard, 2000