From within the interior space, viewers see how ambient light interacts in different ways with the sheeting to create a multi-layered field of vision: the Mylar itself, the view of the window beyond the wall, the metal armature, and highlights and shadows on the surface of the material. The range of visibility afforded by the material prompts viewers to question the many behaviors of ambient light. The discovery of the unique interaction of the material with light encourages viewers to move in, out, and around the work to further examine the performance of the material. The exposed system of joinery of the armature directs viewers to analyze the nature of the Mylar rather than ponder the work’s method of construction. The gridded pattern on the surface of the sheeting relates the walls to common-place brick or concrete walls while the armature relates to the infrastructure of buildings. As a result, viewers contrast the allowance of ambient light in this structure against light-hindering modern architecture. Due to the scale of the sculpture and its creation of an interior space, the work sits between a sculptural object and installation.

Untitled (Shell) explores the relationship between physical location, light, and perception. Audiences can see inside the sculpture through the large opening and spaces between the segments but only in particular locations around the work. Viewers must place themselves to the rear of the piece in order to see inside; the sculpture hinges visibility on the viewer’s position. The interior offers a different view for those willing to lie inside. The closeness of the metal limits vision to mere glimpses of the outside through the spaces between the segments. Experiencing the inside of the Untitled (Shell) is akin to hiding in a closet, peaking through the crack between the door and its frame. Within the confines of the sculpture, viewers become detached from the exterior environment as they only see portions of the outside environment. The dome hyperbolizes the restrictions on movement and visibility that buildings place on their inhabitants. Untitled (Shell) prompts viewers to question the feelings of detachment and limitations of vision both inside and outside architectural spaces.