itinerant space

This project examines how the green screen mechanism produces a form of ‘workable invisibility’ and shifts interpretive labour onto the subject. Using a matcha cream cake as an edible green surface, it combines physical smoothing with real-time image recognition to explore how visibility is structured through material, action, and technical rules. The cake is covered with matcha cream, while decay, interruptions such as mould appear as unstable signals within the system. As the surface is smoothed and repaired, the green area becomes more processable, and the image changes accordingly.
Eating introduces another layer. Once the green surface is consumed, the mechanism is no longer external but symbolically internalised into the body. Covering, smoothing, repairing, and eating form a sequence in which external visual control becomes bodily absorption. The work suggests that the green screen is not a neutral tool, but a mechanism that organises visibility, conceals instability, and invites subjects to maintain its smooth operation.

This work examines how the green screen mechanism structures visibility and shifts interpretive labour onto the viewer. The installation is initially misread as a peaceful scene. When a green transparent card is inserted into a box and moved across the image, a clearer yet more violent scene gradually appears. This transformation reflects a common viewing condition: when images are blurred or censored, missing content does not disappear but is reconstructed through imagination, understood here as compensatory imagination.
The green card materialises this process, making an internal cognitive operation visible through physical action. Here, the green screen is not used as a technical tool but reconfigured as a metaphorical space of imagination within the viewer’s mind. The box, designed as a delivery-like container, functions as a ‘black box’ in Flusser’s sense, while also pointing to everyday practices of classification, packaging, and labelling, where identity is organised and processed.
By staging the distance between image, device, and viewer, the work argues that viewing is a structured process within predefined visual frameworks.