Noise combed along a flow field — the walk re-reads its direction at every step, so the strands curve.

Crumpled brass with a warm room on one side and a cold window on the other — facets return whichever they face.

A warm and a cool field dragged sideways until they smear — five taps along an axis that fans across the frame.

A print rather than a ramp: five screens, one flat colour each, and what keeps it from reading as banding is where they stop — not at a level line but wherever a coarse mesh says.

One broad shaft laid across the frame — the distance to an oriented axis through a tight core and a wide spill, with the far end giving out — and the hand turns the axis.

Liquid metal gathering and breaking, holding its own edge the way mercury does.

A lighthouse turning inside sea fog — the blades die out where the banks are thick because the light is dimmed by what it crossed, not by how far it came, and a hand held up casts a real shadow that widens and fades as it falls away.

The colour of a temperature: hot metal lights one channel at a time, red then green then blue, and the whole sequence from deep cherry through orange to white falls out of the order they switch on in.