Deep Walls creates a projected cabinet of cinematic memories. Within each of 16 rectangles, the movements of different viewers within the space are projected, played back over-and-over, and reduced into the space of a small cupboard. Initially, when a viewer or viewers move into the larger rectangle of the entire projection, their shadows begin to be invisibly recorded, and one box within the projection (the eventual destination of the current movements) is cleared out - When all of these viewers leave the larger frame, their shadows are replayed within that smaller, single box, looping indefinitely. Thus the work presents memories of the space, organized and collected into a flat cinematic projection.

Deep Walls explores the nature of collections – how individual objects gain in symbolic meaning, while losing literal meaning, through organization, repetition and display. By collecting the "viewers" own shadows, the work examines how collections reflect the collector. Rhythmically, the work presents a complex temporal relationship between cinematic loops. Each smaller collected shadow-film has the precise duration of its recording. A single item in the collection might last anywhere from a few seconds to several hours. The temporal, musical relationship between the sixteen frames becomes extremely complex, like Brian Eno's tape loop experiments, always looping individual recordings, yet presenting a unique whole - the repetition period for the entire work can be of the order of days or even months.

The work is particularly inspired by the surrealist films of Jan Svankmajer and the Quay Brothers and the sculpture of Joseph Cornell. In these works, small bodies and obsessive organization of objects into drawers and cabinets symbolically represent interior, psychological and spiritual states. The rational process of organization only serves to bring out an unconscious irrationality.