Beneath every surface lies a world of awe and mystery.The same can be said of the human body: the surface bodes of hidden beauty, compulsion and turmoil.Depicting these inner workings as exterior attributes has long been a fascination of artists. In PaulaLevine's Mirror, Mirror a pristine, slo-mo image, that of a man preening on a beach, undulates withwondrous sexuality. The outward body of her "captured" male seems a reflecting surface for a mostfervent inner narcissism. Skin Matrix S is a collage comparing Man's body with elements in nature. Using adiverse palette of video effects, Ed Emshwiller mingles the textures of the natural world with theintricacies of the human visage. In This Skin depicts an emotional awakening uncontainable within one'sphysical casing. A young romantic, Evelyne Renault casts her internal impulses onto the external landscape,finding suitable horror and glee in the desert's aridity. Steina Vasulka's Lilith grandly imagines its femaledemon on a stormy day: the forest angrily sways, the old woman's face roars and splits. But, apart fromits fable, Steina's videowork ably inscribes the potential for evil on a fanciful face that foretells its coming.An evil of human proportion is the subject of Cecilia Condit's Beneath the Skin. Told in voice-over, a wry,macabre story unfolds of a woman whose boyfriend may have murdered his previous lover. Does theopacity of his presence conceal a heinous killer? Or is it only hearsay and suspicion at work? We'll see whatsurfaces. Steve Seid