Pentasomnia is a multi-channel video installation consisting of five 12 foot-wide screens forming a pentagon, open for viewers to enter at all five corners. The screens are made of stone slabs, for the projection to be visible from the outside, while distorted by the veining. The black and white video vignettes vary from 2 to 6 minute and are derived from dreams and other associations. The work comprises surreal imagery that touches upon interpersonal relations, social belonging, cross-race dynamics, diversity and power struggles in institutions, electronic devices and loneliness, matriarchal and patriarchal orders, and parent-child relations.

The vignettes are titled “Basin,” “Beach,” “Nighthawks,” “Institution,” and “Tunnel” and take place in environments, such as a clear-span factory, the diner in Hopper’s Nighthawks painting, a classical building with a column portal, a beach at night, and the Nada Tunnel in KY.

The symbolism is psychoanalytically charged and includes elements like oozing liquids, figures bathing in water, scissors cutting off a tie, mirror reflexions, ambiguous body movements oscillating between vulnerability and aggression, architectural openings like tunnels and window shutters, and a frustrated toddler wrestling with the person behind the camera.

The cast is specific to their age, ethnicity, complexion, gender expression and movement vocabulary. Some of the clothing in the scenes is custom designed and represents tradition, ritual, and social status. The interactions of the shots rely on strong body language. The artist plans to work with mime actors and/or those with a theater background, and will work as the director and  collaborate with a cinematographer, set designers, and a choreographer.