The installation forms an enclosed space that the viewer can physically enter. Suspended in space, a fabric membrane assembled from fragments of unfinished garments evokes the sense of a temporary shelter.

The work explores waiting as a liminal state—a phase between the loss of a former condition and the impossibility of an immediate transition into a new one. The cocoon functions as the residue of transformation: the body of a process in which change has already taken place but has not yet become visible.

The installation begins as a pristine field of potentiality. With each step, its surface becomes marked and compacted, gradually transforming into a record of intervention. Purity proves to be only a temporary condition.

The starch, traditionally used in film production to simulate the sound of footsteps on snow, retains its distinctive crunch regardless of the surface’s visual state. This creates a perceptual rupture: a divergence between acoustic consistency and visual entropy. The sensory layers irreversibly drift apart, opening a gap in perception. The named, the perceived, and the experienced no longer converge into a single point.

The object materializes the act of perception. It proposes a synesthesia of presence, in which the tactile gesture of approaching gives rise to a visual image, only for it to dissolve in the viewer’s absence.

The work layers multiple states: anticipation and realization, emptiness and signal.