In any photographic process there are essentially two opposing forces at work: one, the developer, aims to turn silver salts to black; the other, the fixer, wants to dissolve those salts. Normally, these are done in sequence so as to remove any potential ugliness between the two. In Chorus, dry granular forms of both are added to the film stock simultaneously. When water is introduced, each begins a struggle for its intended conclusion. The film bears witness to the conflict, a sum of individual grains asserting and succumbing.

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