The installation art changes form depending on the space where it is being exhibited at the time. The idea began when Dupuis-Bourret wanted to start ‘a river of paper in her basement’ (Vocat). The repetitive lines on the printed paper create a rich texture in place of the usual picturesque images one may be used to seeing at an art gallery. This is one of the things that make this piece of work ‘difficult’ to appreciate (Diepeveen & Van Laar). The traditional notions of beauty cannot be adhered to while appreciating this installation artwork. There is no use of color in the usual sense; it is entirely in black and white. The textures and patterns are repetitive and not very artistic in the usual sense. However, it is because of this unusual quality that this piece of art makes for a thought-provoking one. The viewer begins to wonder what it is about this artwork that makes it so compelling despite the lack of traditional beauty in it.
To begin with, the lack of color and the tonality of the texture give it a rather haunting quality. The wide expanse of black and white with varying densities of etching on them allows the viewer to project their own opinions and thoughts on the artwork rather than it dictating too strictly what it ‘means.’ The black and white expanse could mean different things to different people and this element of ambiguity and room for interpretation is one of the things that make such a piece appealing.
But by itself, the artwork is not entirely silent either. The pointed edges and the material used recall the ‘paper fortune-teller’ that children use to play and tell fortunes for each other. This gives the piece a toy-like quality. This playful element is also reflected in how repetitive the structure is; something that rhymes and songs for children often are.
The piece also has mathematical significance. The idea of the