The show is presented under the rubric of the sePedi phrase lešobana!! lešobana! lešobana!! (le bulegile); lešobana! lešobana! lešobana!! (go phunyegile), alluding to a sudden small opening or abyss, a perforation or puncture - a reference to holes, eyes, circular frames, the acts of looking, framing and editing, as well as ideas of rupture and rapture. The exhibition comprises four video works and installation elements, transforming the gallery into a hyper-cosmic world of floating screens and digitally altered realities. Interested in 'the space within video', Bopape asks: 'if there is space within the virtual, how deep does it go? How far can a sound or an image recede?' Perhaps, she suggests, it is also 'a question of metaphysics, and trying to draw a type of parallel timeline'.
Bopape has never been one to shy away from bending the fabric of 'the reel' to create fantastical realms of distorted beauty. One such work making its South African debut on the show is her three-channel video work, they act as lovers: microwave cosmic background: so massive that its decay opened the ultimate hole from which the universe emerged: effect no.55, 2 ends of a bent mirror, of which Bopape writes:
there is nothing, only effect and affectation...
there is nothing and 'the nothing' (the immaterial thing that exists but can not be named or even pointed at) that exists in the actual ....a disco of effects/affect
...an 'echo immersed in the sieve'
In addition, Bopape presents three single-channel digital videos: the problem of beauty, intermission 2//tv life and the light was just like this. These video pieces collectively take the viewer on a kaleidoscopic journey through memory, trauma, time, ecstasy, virtual space and the sublime.