Most of my installations are built from two structural modules I keep returning to — the way a composer returns to a chord. Naming them helped me understand my own practice; sharing them might help you read the works.
The Infinite Box
A chamber with mirrored interior walls and an internal light source. Look inside and the reflections repeat into a corridor without end. Private Conversation (2012) used it to let two strangers meet inside the same infinity; Portal (2017) buried three of them in a wooden bridge so that crossing became a small ritual; In-Between (2017) tilted them in a forest clearing, reflective by day and glowing by night.
The Optical Dissolution Panel
A 120 by 120 centimetre panel mosaicked with roughly 1,050 small mirrors, each set at a slightly different angle. Stand before it and your image shatters into a cloud of fragments that moves as you move. Thirty panels formed the first in[visible] tunnel; sixty made the twelve-metre version that 30,000 people walked through at Untold. The panel does with space what memory does with the past — keeps every piece, but never in the original order.
Two modules, fifteen years of variations. The lesson I pass to my students: you do not need a new trick every year — you need one honest mechanism and the patience to ask it every question you have.