In 2013 as a way of interrogating the terms of my ongoing experiment, I have aimed to eliminate the object entirely and work solely on the impression. The resulting work, Mirage, was installed at the Postmasters Gallery in New York and consisted of a shadow of a passenger airplane that crossed the room for 45 seconds every four minutes. The objective here was to consider the shadow not as the mere absence of light but rather as a material in and of itself which could then be sculpted. At once sinister and playful, the piece offers itself up to a range of possible references, from the catastrophes of the recent past to the detached, “living” shadow of Peter Pan. While the original, then, reappears in memory at the moment of its physical denial, its status is uncertain as the shadow exceeds its secondary role and achieves a level of agency on par with, or perhaps even surpassing that of its imagined referents.