《DEEPWALLS》是一个投射出电影记忆的虚拟橱柜。当有人步入其投影光束中时，这面互动墙体便开始记录下他的影子，以及随后其他人的影子。当最后一个人离开画面后，这些影子便在十六个小型矩形柜橱中的某一个里循环播放，无休止地重复。如同结构主义电影一般，这些重复视频的集合本身成为了一件独立的物体，而不仅仅是一种严格意义上的“电影”表现形式。
《DEEPWALLS》在电影循环之间构建了复杂的时间关系。每一个小的影子影片都具有与其录制时长完全相同的持续时间：从几秒到数小时不等。这十六个画面之间的时间关系变得错综复杂——类似于布莱恩·伊诺的磁带循环实验——通过循环播放不同时长的个别录像来创作一个数日之内都不会重复的组合。
《DEEPWALLS》的灵感来源于Jan Svankmajer和Quay兄弟的超现实主义电影，以及Joseph Cornell的雕塑作品。在他们的电影和雕塑中，小巧的身体和对物件的痴迷收集被置于橱柜和抽屉中，象征着心理和精神状态。理性的组织过程揭示了一种无意识的非理性。
《DEEPWALLS》的名字灵感来源于建筑师Christopher Alexander在其著作《模式语言》中提出的一种设计模式。他建议将房屋的墙壁建得厚实，以便居住者自己能够雕刻出橱柜、抽屉和窗户，个性化他们的居所。秉承Alexander的精神，这件作品逐渐在其表面铭记下其所处环境的内容。
Deep Walls is a projected cabinet of cinematic memories. When a person walks into its projection beam, the interactive wall starts recording his shadow, and the shadows of those who follow. When the last person leaves the frame, the shadows replay within one of sixteen small rectangular cupboards, looping indefinitely. Like structuralist films, the collection of repetitive videos becomes an object unto-itself, rather than strictly representational “movie.”
Deep Walls creates a complex temporal relationship between movie loops. Each small shadow-film has the precise duration of its recording: from a few seconds to several hours. The temporal relationship between the sixteen frames becomes complex—in a manner similar to Brian Eno’s tape loop experiments—looping individual recordings of different durations to create a composition that doesn’t repeat for days.
Deep Walls is inspired by the surrealist films ofJan Svankmajer and the Quay Brothers, and the sculpture of Joseph Cornell. In their films and sculptures, small bodies and obsessive collections of objects into cabinets and drawers represent psychological and spiritual states. The rational process of organization brings out an unconscious irrationality.
Deep Walls’ name is inspired by a design pattern from architect Christopher Alexander’sPattern Language. He recommends building the walls of homes thick, so that the inhabitants themselves can carve out cabinets, drawers, and windows to personalize their homes. In the spirit of Alexander, this work gradually remembers the contents of its environment upon its surface.
