The installation consisted of 5 models, each one representing a station along the caravan route (see Landscape of the Exodus for more context.) The painting models were 24” x 24” x 24” on pedestals that elevated them to eye level. The models consisted of 5 layers of clear acrylic sheets that deconstructed a landscape image. As in landscape painting compositions, each element within the painting is abstracted to a single panel, as in background, horizon, foreground, visual path, and center of interest.

The images were edged onto the clear acrylic and within an ellipsoid as a secondary frame that allows the viewer to imagine these paintings within a three-dimensional bubble from different angles.

Brambilla and Potzsch discuss in Border aesthetics, “The political world is the space of appearances, the space where I appear to others and others appear to me. The processes of making In/visible are related to regimes and apparatuses of In/visibility that capture the paradoxical movement between a conferring and retracting of power at the shifting threshold between what is worthy of being seen and what is not.”

The migrant is often portrayed from a top-down, aerial perspective –in Trump’s own words, a hoard, an invasion, a national emergency. This insatllation questions, how might another representation of this experience across a vast landscape counteract these images?