becomes interesting to note the duality that a space may inhabit with the assistance of time. The reformation of purpose through the process of masquerade, either through the concerted effort of those that pen history or through the fictitious dialogue that the artist installs, she heightens the moments where these two worlds collide in order to jolt the viewer, observing the construction of both parties. It doesn’t take long to realize the similarities between these two forms of masquerade and how they play and simultaneously expose each other. When these two worlds dissipate what are we left to consider? What is right from wrong? real or not? left from right ?and who deems them so.
Hibberd notes the teetering duality with each form, America as liberator and terrorist, the prison system and its presence toying with notions of the seen/unseen, An asylum as a place of sanctuary but a place of confinement. With the population surrounded by these spaces that once cradle us but also strike fear it is no wonder why we the audience, we the society are left in a space of the unknown, the construction of the façade has crumbled beneath us, the space that we inhabit is ambiguous non space waiting to filled up once again with historical storytelling.
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