Showcasing a horizon of repetitive and non-hierarchical connections, the work explores the relentless cycle of media-driven innovation and withdrawal. Rather than engaging directly, this cycle forms an infinite accumulation of ‘now’, creating an ‘empty-headedness’ that situates the viewer between memory and expectation. In this stalled progress, a slowly shifting present intrudes between action and result, where a multiplied pair of the inflatable diamond and baby are put onto an extensive whole. Their relationship rests on the opposing values within ‘TADA,’ emphasizing a non-constructive, infantile approach to self-promotion and indulgence. While further evoking the playful and simplistic language of toys, it promises no community – only sudden shifts in taking off and returning down. Imbued in its own disappearance, the work critiques how capitalism manufactures indistinct identities and, in turn, consumes them rapidly. This constant process of ‘becoming’ challenges the viewer with repetition, highlighting the endless flow of hyper-visual culture.