Such limited paths of engagement seem the antipode of SADZEÉ ; TIME, where the work’s behaviours rely on our nuanced presence, and within the subtleties of our attention we discover its expanse. Through a bit of knowledge of our own bodily work in relation to its surroundings, through attention to movement in ongoing relationship with resultant sensory changes, Casey Koyczan’s work feeds back to us, and we become aware of a delicate relationship. Focusing more intently on these movements and sensorial changes, we individually recede.