Installed within a portable storage unit, The Oculus inverts the concept of perspective within a painted space. Traditionally, at least in post-Renaissance western art, paintings are carefully plotted around perspectival geometry to give it a sense of great depth. This formulaic approach really only works if the viewer is standing front-and-center. This creates the idea of privilege, that only one person can ever see a painting at any given time, and thus, for that moment, they essentially own it.
The Oculus takes that geometry and inverts it, creating a flattened space despite the fact that the installation is actually 12 feet deep. The true depth of the work can be seen as the viewer walks away from the front-and-center vantage point, because off on the side-lines, the inverse geometry I am using collapses.