Initially, blackness. And then, depending upon the duration one's sight can accommodate darkness, visibility returns.

One realizes that the installation covers the entire gallery space. All  855 square feet of it is canopied with a blue fabric, with the full 12 feet height of the walls painted in the same hue.  Suspended at about three quarters of the canopy's length  and width are casts of two body parts.   In the middle of the floor space is a  54 by 72  feet canvas-covered mattress.

What can barely be considered as illumination comes from two sources: a faint bounced light concealed on the  wall like a sconce  and an equally faint halogen light projected from the back of the canopy.

The aural space  is filled with a rumbling, gurgling  sound - a digitally modified playback of an  underwater live sound recording..

Under the extremely low lighting conditions of  the rather ambiguous space, sight is put on a threshold,  awakening myriad sensations: imaginary presences, distortion in the shapes of other viewers,  heaving of the canopy, movement from the body casts, and  feelings of fear, danger, drowsiness, reverie, drowning,  even sensuality. Under low illumination, receptivity is amplified allowing other visibles to be felt and found.

Corpora Immobilia is a proposition and an imposition at the same time. 

It is a proposition in that it does not impose itself on viewers including those who, having been too used to negotiate their worlds and contexts under familiar and metaphorically banal levels of visibility, decide at the outset or literally by the entrance of the exhibition area that there is nothing to see at all.

It is an imposition because even a momentary deprivation of visibility is compelling for the sighted.