A lone figure bobs around in the water, surrounded by a vast expanse of ocean; slowly you can make out a woman, her face, as she moves closer to the camera, closer still. What is she doing there, how did she get there, where is she going, is she safe?
Josh Owen's Treading Water has been selected as one of the finalists in the National Portrait Gallery's Digital Portraiture Awards for 2017.
The 25-year-old Canberran says the video is an idea he's had for a couple of years.
"It tracks my friend Paung Khaing as she slowly bobs around and approaches from the sea," he says.
"At first she appears foreign and distant, but over time we stop seeing her as an 'unknown' or potential threat, and become familiar with her as a person."
He filmed the 4min 25sec video at Depot Beach on the south coast, wanting to put a human face on the immigration issue.
"Paung's parents emigrated to Australia from Burma one year before her and her sister were born," he says.
"Paung was a couple years below me at school and we became friends while working at Mocan and Green Grout in New Acton.
"Her family history is very different to mine, but we have ended up in a similar position. I think it's easy to not think about news you hear in regards to Australia's immigration and off-shore detention policies, but it's harder to ignore when you have a face looking straight at you.
"I have to admit I'm not super educated about the immigration and refugee situation in Australia, but instead I'm trying to illustrate the personal side of it all."
Owen first became interested in film-making in high school and went on to study at the ANU School of Art.
"Since studying I have become more and more interested in art rather than pure film, and am now pursuing video, painting, print and performance suitable for galleries and exhibitions
"I had a residency with the Canberra Contemporary Art Space last year, which provided me with a lot of support, and helped to put on my first ever solo show Booksmart earlier this year."
He said it was difficult to define "digital art" as it was a "very broad subject and still kind of figuring itself out".
"But a good way to separate it from other forms of media is to point out that it is designed to be shown in a gallery or installation in the same way as more traditional work like painting, sculpture and photography might be."
Judge and director of learning and visitor experience at the NPG, Karen Vickery, credits the nine finalists' submissions as strong examples of the breadth and application of digital portraiture.
"The judges were impressed by the quality of entries this year, particularly in the area of sound application," she said.
"Themes of female, male, queer and racial identity flow through many of the finalists' works. Each one is beautifully executed in the exploration of identity, contributing a different voice and interpretation."
The winner of the DPA will be announced on December 1 and finalists will be on display at the National Portrait Gallery until February 18, 2018.