Jonathan Uliel Saldanha

A perfectly circular lake of fluorescent liquid — an unnatural, bottomless deposit of chemical residue. Its surface, altered by artificial sedimentation and ultraviolet light, pulses like an open wound, where saturated reds, acid greens, and deep violets collide.

A solitary performer activates the installation, dressed in hybrid gear—part military camouflage, part industrial exoskeleton, part ritual attire. Carrying ambiguous props—a soda can, a headlamp, a portable speaker—they gesture in loops of command, delirium, or resistance.

There is no linear narrative. The performance unfolds as a continuous operation, where the body becomes an agent of the site’s own toxicity: spitting liquid, emitting noise, standing vigil. Under blacklight, invisible traces emerge, as if the lake teeters on the edge of a chemical event or energetic collapse.

Psych Op Pump conjures a speculative, mutant organism—where synthetic ecology, psychopolitics, and sonic fiction converge in a landscape suspended between purge and contamination, ritual and ruin.