The totem of van Dooren’s exhibition is the freestanding structure vertical hallway. Although central to the installation’s landscape, vertical hallway can be viewed as a contributor within the entirety of overlapping and closely juxtaposed pieces, or a fragment of an expansive whole. Multiple encounters articulate the gallery as attendant structures, drawings, and backdrops radiate outward or stand sentry throughout the rooms—leading to a procession that roams between intuitive and directed elements. Bannered walls, spatial constrictions, and low carpeted platforms guide and sustain viewer engagement as well as invite participation as we walk on, through, and amongst casual and complex arrangements.
 
vertical hallway is an element assuming both internal and external functions, a self-limiting workspace that contributed to its own development as well as its offspring. Within constraints arrive moments unguarded from trained behaviors and personal markers. These outcomes form a foundation this illuminated structure rests upon.
 
ifyougiveigive (light) and ifyougiveigive (dark) are two additional catalysts that examine the privacy of the studio in relation to the democracy of the exhibition space. These idiosyncratic workspaces and their aestheticized utility generated the hanging sequence of prints, graphite transfers, and carbon rubbings that populate the installation. Surface translations sloughed from the planar skin of three-dimensional forms yield process abstractions onto a two-dimensional field. Doubling as both backdrop and formal element, these quick paper intermediaries embody a dynamic of process and display.
 
Amidst the installation are situated several discreet, leaning, or wall bound pieces. mainline (sskl), the basement jubilee, the wreck, between the lectern and the icons, and nicene are independent operators that offer proximal support and moments of repose within the congregation.
 
The range of considerations hinted at by vertical hallway and her attendants encompasses a spectrum of personal history and symbolism, chance and consideration, secular and spiritual processions and iconography, theatricality, process and display, idiosyncratic architecture, physical engagement, and drawing in its most expansive forms. A paradox of these freewheeling references, though often hermetic or distancing, is their sense of generosity or inclusion. Multiple readings and points of access allow the viewer to approach the installation through an interpretive or intuitive lens. Here intention rests, where the soul and spirit of an offering is arranged in broad gestures and refined moments.