The mirrored cube sits in a room, reflecting the yellow and black patterned of surfaces of the walls, ceiling and floor. Like a Chameleon lizard taking on the colours of its immediate surroundings, the cube merges into the space.

It can feel as if the room and the cube dissolve. Where do the walls, the floor and ceiling intersect? Is the cube a solid rectilinear object, or does it take you to another unfamiliar dimension of space?

This installation questions the certainty of rectilinear spaces, of solid objects, our own perceptions of space, and our sensory experiences.

There is something alluring about the viewing window on one side of the cube. By disrupting the nauseating visual overload of yellow surfaces and black dots, it heralds another possibility.

Step up to the viewing platform to look into a Tardis-like infinite space. Inside, a never-ending field of pumpkins extends above and below: The Spirits of the Pumpkins Descended into the Heavens. (2017)

Attached to what looks like the gridlines of scaffolding there are small mirrors. These reflect the outer space of dots and yellow walls. However, if you try to photograph your reflection, you will end up with a selfie of your phone.

Despite the numerous small mirrors inside the cube, the space does not invite the viewer in. It is well-nigh impossible to project your own image into this space. The self (or ego) clearly does not belong here in the realm of the spirit. (See link to the exhibition below.)

Kusama’s immersive rooms place the viewer within an infinite realm of mirrors that removes all the boundaries of a room. This installation has a different intention.

Here the installation disrupts spacial perception using painted walls and a mirrored cube. The mirrored cube reflects the room and the image of self. Within the cube is infinite space. You can look into this space but you can’t bask in your reflection in this place. Leave your ego and your body at the door please!