The spirit of a work is hard to pindown. Before the age of mechanical reproduction, the art object was endowed with an essence thatintimated some other realm of knowledge. Mass production destroyed the notion of the unique object andwith it, the tendrils that led to truth. Attempting to reinstate an aura of spirit, Daniel Reeves has pursuedEastern mysticism, personal litany and visual poetics with the meticulous care of a true craftsman. Thesublime-divinity held in suspension-invests his videotapes with a haunting sense of imminent revelation.Exotic images of India, Thailand and Spain are propelled by temporal shifts, creating an illusory realitywhere Man is but a transitory thing. Reeves' mystical journey has taken him to disparate worlds. InSmothering Dreams, the swampy fields of Vietnam are revived for a searing condemnation of war. Here,Reeves targets the mass media as the prime inculcator of glorified violence. In Amida and Sabda, Reevespenetrates the complexity of Indian life by contrasting the texts of medieval poets and the sensual gesturesof an earthly culture. Technical virtuosity comes to the fore in A Mosaic for the Kali Yuga. Embodying theHindu age of collapse (the Kali Yuga), the videotape constructs a cataclysm fueled by accelerating mediaimages. Reeves' newest work, Sombra a Sombra offers the abandoned architecture of Spain as signaturesof loss and desertion. Read in voice-over, the writings of Peruvian poet Cesar Vallejo recall the indelibletracings left behind by the spirit of Man. Steve Seid Daniel Reeves' appearance atPFA is made possible through the cooperation of the Capp Street Project and, particularly, Ann Hatch.Special thanks to Rosemary Rotondi.