As Above, So Below (2020) challenges notions of heriarchy, distribution of power and surveillance. Foucault refers to biopower, which refers to the ways in which power is manifested as self-surveillance and self-discipline through daily practices and routines that individuals subjugate themselves to. Vectorized Icons of drones are appropriated from their signage context and laser-cut onto acrylic plastic, referencing the architecture of barrier and division while justified with notions of sanitization and impenetrability. Light projections are refracted from projectors mounted at three corners in the room and implicate audiences as they are also immersed in the light refraction, referencing the ways in which individuals singley and collectively are involved in perpetuating these practices. Foucault visualizes power operating at two spectrums, on the humyn species and on the humyn body. In this day and age, it is inherently related to the ways in which identity is performed and mediated through technology, power is everywhere, exercised from innumerable points, in the interplay of nonegalitarian and mobile relations, (Foucault, 1980-94). Foucault believes that power does not originate from above by a dominant group, but rather is imposed, reinforced and reproduced from below.