The work consists of a diptych structure bulging out as if it were an unwanted extension of the architecture. It is coloured black and mounted with burnt notebooks arranged in rows with faded writings of people who lived and worked in this space during the execution of my work. This part of the work symbolizes the reality presented in a way that overwhelms the viewer by the symmetrical division of the diptych and the bold display of the work. The placement of the diptych symmetrically against the other part of the work which consists of a bunch of notebooks stacked together with a burnt hole inside them leading the viewer to the third part which is the video documentation of the work process running constantly in a loop on a black and white monitor.

The third part somehow tries to conceal the reality by putting it behind a peep hole and giving an opposite view of the reality, so that, even though one doesn’t destroy the structure, as in case of the diptych, one can still remove the reality by masking it, i.e., keeping the structure intact and destroying its essence. The work derives visual inspiration from various sources, i.e. Sergei Parajanov’s film The Color of Pomegranates and Francois Truffaut’s Fahrenheit 451, the lyrical inspiration of the 70s avant-garde progressive rock band Pink Floyd, and the happenings within my own space where I live and work.