Transitioning from the weighty materiality of bronze, Pashilk reflects "Aluminum would allow me to work larger without weight." Moving his works off the ground to the wall, suspending components in mid-air, while others jut outward and enter the viewer's space, these iridescent, reflective aluminum works explore the shifting technological world of Silicon Valley through abstraction. Earlier questions of connectivity are addressed here through line, form and color.

In this series, figuration and traces of the body, prevalent in his early work, manifests through the abstract expressionist painterly gesture. Pashilk's use of color however departs from that history, which celebrates the materiality of paint in and of itself, and is instead informed by the gestural quality of manipulated aluminum rods. Color functions like the spiraling lines of aluminum, formally connecting spatial distances between forms. Instead of creating material lines through color Pashilk allows the viewer's eye to make the connection, leaving open "spaces of possibility" between forms.

The solid geometric aluminum plane, evident throughout this series, acts as a base structure referencing the painter's canvas, while the wire-like aluminum lines expansively move off the wall into three-dimensional space revealing its limitations. Energetically connecting the base structure to other geometric forms, Pashilk's work meditates on the organized chaos of expansion and incorporation. Far from tooting the horn of technological progress, a linear teleological directionality, this work investigates the logic of circular movement, of indeterminately reaching outward, and of detours in space and time.