In several of their recent works, Breda Breban and Hrvoje Horvatic have employed extremes as a means of confronting and encapsulating experiences that have a dimension of spirituality. Not the cathartic extremes that have characterized much twentieth century art, but extremes of duration, slowness, stillness, tenderness, and beauty. Relating their work to a history of Byzantine culture, they eschew the obsessions of media fixated western video artists and direct themselves toward the development of an aesthetic that while echoing the cinematism of say, Tarkovsky, is also based upon the precise qualities of the video screen as a glowing light source.