A fast-paced flow of images edited from what was gathered online or made by the artist - images of Kurdish female fighters, activists and journalists, pixelated landscapes, animated phoenixes, and oil paintings - is sequenced to an electronic beat. Fusing stark opposites - music-video, a moving-image tribute to those killed or still-fighting, a slideshow of aesthetics of resistance - for those underrepresented or bore from sovereignty and self-determination. In a moment of intensified information or rather image warfare where war is spectated or “consumed” over TikTok, images create cohesion, purpose, and legitimacy for particular struggles and sites of a conflict. The video work, which Leyla Yenirce (*1992) describes as an “image machine”, reunites concepts of solidarity and resistance.