The cinema up to date has served as a physical location for the illusory. Through its spatial manifestation, it has become a means for upholding culture and perpetuating the norm of binary relationships while hiding its arbitrariness - in this case, constructing “the line” to separate the illusory from the real, the inside from the outside, the here from the there. 
The primary goal of every binary relationship surrounds an effort to separate and define an  origin - a term that is self-referential, or non-contingent. However, in every attempt, the individual finds themselves back where they started - or more bluntly, in trying to define the self-sufficient term, they have to rely on the “other”. In that sense, is reality and illusion all that separate? Why has the cinema for so long perpetuated and constructed this line?  
In attempt to critique the long established cultural norm, The Infinite Room becomes a matter of questioning the notion of “the line” - site manipulations and the spatial readings within the structure seek to create multiplicities in movements and the phenomenon of being pulled one way, only to return where you had begun.
Graduate Studio IV,  Spring 2019, In Collaboration with Sam Eckerson                                                            Critic: Amir Ameri
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