Shana Moulton:

When constructing the viewing structure of Who’s There?, I looked closely at how Shana Moulton uses low-budget materials and crude effects to create a visual state suspended between collapse and self-repair. Her character Cynthia is both a fragile extension of herself and an emotional vessel the audience can project onto—through her, we can experience helplessness, failure, shame, all wrapped in absurdity and lightness.

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What fascinated me most was her strategy of making the domestic space feel like another dimension. She uses pink bedrooms, air purifiers, wall decals, fans—cheap, everyday objects—to stage a world that hovers between dream and breakdown: soft yet eerie, familiar yet unhinged. In Who’s There?, I tried to borrow this same atmospheric method—not building a high-concept explanatory structure, but instead combining lace, metal, and a low projection rig into something that feels off, emotionally.

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What I learned from her is this: you don’t have to “make yourself clear,” but you can make your confusion palpable. That awkward, blurry, half-laugh-half-cry rhythm is exactly what I try to activate through my installation and AI-generated imagery.