With Granny's Is, Larcher sought in video filmic equivalents that somehow affirm the artist's hand. Through digital matting and optical effects, he nurtures the image, reworking and layering the many strata. Self-described as a "geriatric anthro-apology," Granny's Is is an acrid portrait of Larcher's ailing grandmother. Larcher fills his home-and the frame-with a swarm of images of his infirm elder. He seems overwhelmed by her presence, as though her likeness carries a cargo of love tempered by guilt and revulsion. Here the image is the vessel of memory, remarking on the fragility of the present: "Each face that we love: a mirror of the past." Ich Tank, Larcher's newest work, began as a pun on the German pronoun for I, "ich," and led to a chain of ichtian coincidences. Generating an electronic world of submerged chambers and aqueous corridors, Larcher sought visual analogies for psychoanalytic tropes. Here, the artist swims with the fishes through a Lacanian lagoon, complete with analyst's couch and ichthyological projections. "Originally," Larcher said, "the video was created to run the equivalent time of a psychotherapy session which practically coincides with the 52-minute duration of one-hour programs on television." He filled it out with a few advertisements for the Self.-Steve Seid

• Granny's Is (U.K., 1989, 46:48 mins, Color/B&W). Ich Tank: Remake 4, Version 5 (U.K./France/Germany, 1998, 58:20 mins, Color) (Total running time: 105 mins, plus discussion, Beta SP, From the artist)