A line drawing of the gallery’s interior is deconstructed piece by piece and the constituent parts sequenced and projected onto a screen in the darkened gallery space.

Thus the interior space is perceived through this 2D representation via a process of conscious retention of the drawings’ elements as they are presented and re-presented over time.

This process is simultaneously complemented by the physical phenomena of the afterimage as each of the drawing’s brightly projected lines remains momentarily on the light sensitive retina. Ghosts of the on-screen schematic representation of the gallery are layered and rebuilt fleetingly onto the interior surface of the eye.  As the drawing is never presented in its complete form, but as a series of abstracted lines, perception of the represented space exists only in the conscious and physical memory of the viewer.

‘We must distinguish between: image-presentation  that consciously presents the object pictorially – by means of analogy , by means of pictorial objects such as paintings, busts, images of phantasy, after-portrayals, but not with the consciousness of the thing itself – and phantasy-presentation as re-presentation of the thing itself,  but not by means of images (memories).’

Edmund Husserl. The Phenomenology of the Consciousness of Internal Time. (1893 – 1917)  Pg 189. (Kluwer Publishers)