Sviðsetning blasir við. Starfsmaðurinn og útisvæðið: gripir sem tilheyra safninu, annars staðar í byggingunni.  
Verkið er háð skilyrðum arkitektúrsins en beitir brögðum og afmyndar.  
Færslan er niður um hæð. Gluggarnir og atburðarrásin sem liggur handan þeirra ýmist bjaga eða jarðtengja veruleikann. Hversdagsleg, sammannleg upplifun á sér stað en aðferðin er yfirnáttúruleg. 
Verkinu fylgir ringulreið og sjónblekking en það lifir meðfram eðlilegri skynjun. Raunheimurinn verður huglægur og verkið vegur salt milli raunveruleika og fáránleika, ört fram og hægt til baka.  

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We see a staging through a 10-windowed door on the 2nd floor of the Reykjavík Art Musuem: An outside area of the museum and an employee locked out. Although, they both belong to another nook in the building: The 3rd floor.
The illusion is made by filming a scene through the windowed door on the 3rd floor and then projecting it onto the door on the floor beneath it. The two doors bear an architectural resemblance, but the one beneath doesn’t have windows, only crevices for them.
The core of the work is the site-specific element, but the humour of the employee's situation (which is an actual employee of the museum) holds a great deal of weight. His dilemma is universal, yet his emotions are exaggerated.
I’m playing with people’s experience of the room in which they stand in. The idea itself, mapping out the windows and relocating what lies beyond them, brings the experience out of the ordinary. I make, however, specific decisions to ground the work nearer reality by picking a setting and an actor within the building.
The work carries disarray and illusion yet stays firm alongside our ingrained senses. Materiality becomes metaphysical and the work slides on the scale of reality and absurdity, rapidly forward and calmly backward.