Extending the path of interior monologues as projected subtitles developed in Delay-Vision, this work allowed me to give artistic form to an event I had been unable to articulate at the moment it happened — together with the thoughts and emotions experienced before and after this defining ordeal: my memories of my first abortion.

Filmed from inside a moving car at night, the camera’s static viewpoint frames a roadscape in perpetual transformation, lit almost solely by the headlights, while rain beats against the hood. This shifting landscape composes another tableau. Through an intimate monologue, I retrace both the physical and psychological impact of the abortion.

With Two Lines, I began to consider the moving image not merely as an artistic and media medium, but as a genuine vector of bodily resonance — a way to interrogate the social protocols, established and asynchronous to the lived experience of a singular body.