This is a large-scale installation that has two components; a full-sized, interior maze and a large cardboard model of an Arab town or refugee camp. The walls of the maze are 2.4m high and have a total combined length of over 100m. They are clad in lenticular micro-lens panels depicting walls, windows, doors and various architectural details. The images appear to move, changing and fluctuating as the viewer moves through the maze. Images are repeated on different panels to deliberately add to the disorientating effect. At the end of the maze there is a large open space (approx. 15m x 7m) revealing a model consisting of hundreds of cardboard boxes apparently stacked randomly against the gallery walls and around the floor. Windows and doors have been cut into the boxes to create rudimentary model houses.
The lenticular images are made from photographs of buildings and streets in East Jerusalem, Hebron and some of the larger Palestinian refugee camps such as Shu’fat, interspersed with images of the cardboard model. This does not become apparent until the viewer successfully makes their way through the maze to the model. The project raises questions about the kinds of spaces that have emerged in sites of conflict and in the urban margins of globalization. Central to the project is the idea of ‘spectral space’ as spaces that are created between the virtual and the real such as mock cities built for training in urban warfare, the spectral, parallel world of surveillance, CAD inspired urban developments and the interactions and confusions between the virtual and the real in the urbanization of global capitalism and conflict. The installation plays with our ambivalent relationship with these kinds of spaces in which the pleasures and thrill of the maze are partly depend upon disorientation and fear.