‘In the Null Void video, we follow a desperate character in his attempt to transcend a physical space and escape his addictions via a hallucinatory female. The environment is a dystopic, brutalist variation on an old theme: the stifled, domestic household. The refrigerator, the television, the wine bottles, and –most notably – the main character’s nonexistent female counterpart evoke this dark theme. The cold lighting, concrete floors and metal containers further elicit the atmosphere of a prison in which he tries to resist the temptations offered by his imaginary friend. The illusory female character’s performance is mostly static, as though she is another object in the room. Her eyes are glazed over in reverie, the mode by which the action will follow. These reveries take various forms, limited by the sparseness of her environment. Dave plays a kind of narrator, floating around her dreams (sometimes actually), performing the song, alluding to the twofold nature of escape. Most important is the television, which serves as a physical manifestation of these purely mental (intellectual) fantasies. Its formal role in the narrative is essential, and as the viewer’s perspective is fed through the television, we lose our place. What is real and what is the fantasy? In this way, we are able to identify with the protagonist. After reality and fantasy are knotted together, they fracture, and the space is literally broken into parts. This is reminiscent of a familiar sensation at the end of a dream or reverie, when the idea comes together and then falls apart. The video thus gives us a picture of what the nature of escape can sometimes feel like: the ecstasy of transcendence, the eluding of time, the total circumvention of life as a physical object.“ ’says Saccenti.