The first thing one notices when stepping into New York’s bitforms is the golden-orange color of the gallery walls—they exude a coastal warmth into the typically white-cubed space. Tapered over them is an almost impenetrable wall of text outlining the most granular details regarding a series of object descriptions in alphabetical order, categorized by numeric code. Artist Marina Zurkow’s “MORE&MORE (the invisible oceans)” approaches the socioeconomics of growth through shipment and trade on a global scale. The code displayed is the Harmonized System Commodity Description and Coding System, or Harmonized System (HS for short) which outlines goods that are exported out of the United States. The code is made up of 26,000 items in 99 categories, a specificity of which borders on the absurd.
In MORE&MORE: "China, India, Japan, Mexico, Turkey, USA" (2016), six video sculptures of various shapes and colours are situated throughout the space, some placed upon wooden boxes that evoke shipping crates. The algorithmically generated visuals portray a looping combination of shipping motifs and abstract mosaics: cranes load and unload cargo, ships cross bodies of water and trucks transport to and from ports day and night in all manners of good and bad weather. In one video, oil droplets stretch down the screen.