On Lanzarote — an island that is little more than solidified fire — a hand-built lens turns toward black lava fields, ash and mineral light. The 16mm is developed on the island and reworked through double exposure, chemical alterations and contact printing experiments. Beneath the images runs a composition of the filmmaker's own, drawn from lava stones and ceramic flutes. Its title taken from Lorine Niedecker's Lake Superior — "In every part of every living thing is stuff that once was rock / In blood the minerals of the rock" — the film follows that single thought to its conclusion: that flesh, breath and eye are made of the same slow mineral time as the ground beneath them.