Yanai is deeply concerned with surface. The way his little rectangles of colour seem to click into place, emphasising the application of paint, condenses the visual field. The wash of Mediterranean light equalises the foreground and background, unifying these liquid building blocks into a single work. In Machine Hallucinations, the surface is non-existent — the bubbles of data-driven digital paint pop and float in another field of vision and existence separated from us only by a glassy screen. Both of these methods can stir unconscious memory and associations, as we either focus in on the surface appearance of each detail of a work, or fall into its depths trying to find a unified image, we experience something like the feeling of trying to remember: Something is on the edge of our mind, the tip of our tongue, just beyond the immediacy of the present.