Nick Kaye: For the installations in Ooze, the positioning of each of these works' surfaces explicitly before the wall emphasizes their suspension, their fixity, but also their flatness, so constructing “painting” as the trap, the otherness in which these time-based images are pinned down and restricted. It is a restriction only amplified, too, by the sense of these entities’ attempts to enter the space of the viewer, exchange their gaze, or speak. For Oursler, evidently, these very efforts toward movement, and the possibility of a crossing of distinct spaces, characterizes his investigation of media space, suggesting in conversation with the artist Jacqueline Humphries that:

Media space is a conglomerate of virtual spaces [. . .] I tried to make entities [. . .] which have the properties of media space, put them in real space—see how they operate. What happens when the immaterial becomes present? (Oursler in Humphries 2007)

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