"It can be said that painting is merely a permutation of gestures, a string of decisions that are carefully exhausted. It is this looping interplay between probability and intention that yields a composite form. Cut the circuit that runs between the two and you are left with the breadth of its movement. Scans at Home is a chronicle of process: sequential stages of an image in a stop motion abstraction." Instead of weaving actions together, Rauch unravels each into a catalogue of multiples. Each splice of the time-lapse portrait, no less pertinent than the next, marks a duration of thought. The repetition of imagery creates a visual broken record, insinuating the presence of a speed, but recalling the rigidity of a film strip, in an attempt to capture the act of making.