screeching container ports, fairy armadillos, advantageous appendages…

Coming in from a bright sunny afternoon, I am temporarily blinded upon entering the Western Front’s dim gallery. Somewhat ironically, I have to rely on my other senses to locate the leather-covered bench facing the two-channel video installation of Cirrus (2025) by Holly Márie Parnell. The work by the Irish-Canadian filmmaker takes its name from slender appendages used by animals to navigate without sight—like moles, who use cirrus to traverse subsurface landscapes.