Currence is created with a flatbed image scanner. Over the course of a scan, I choreograph movements and intervals of rest using a squared piece of pine as the subject (twenty-four inch length, half inch sides – one painted white, three painted red). As the scanner’s interface distinctly assembles time and energy into still image, this methodology enables me to sculpt digitally dependent forms from an analog input (no Photoshop). Doing so not only resolves to suspend each image between realistic fidelity and the abstracted performance, but it allows the forms to inhabit a fractural space between the physical and digital worlds. In effect, Currence purposes this framework to explore and distill the fundamental components of the creative process – form and energy.