In this piece, Ohio Impromptu and the Cinéorama are positioned as being oppositional representations of desire as it relates to Home. Raoul Grimoin-Sanson's Cinéorama was a late entry in the lineage of the panoramic theater. Consiting of 10 perfectly synchronized motion picture projectors, Cineorma simulated an in-the-round view of a hot air balloon flight rising above the city of Paris. An actual balloon lift-off was recorded then the film reversed to approximate the return to the earth. Immensely popular, this type of imagined scene offered escapism and made it available in an age when travel was both physically and economically prohibitive. Those longing to move beyond the confines of their city, country, or even their own body were presented with an illusion that created an actuality intended to empower the audience. In these spaces the landscape below appears majestic and boundless, while at the same time structured around the viewer, existing to be consumed.

Contrary to the exuberance of Raoul Grimion-Sanson's theater, Samuel Beckett's Ohio Impromptu is an affect-less recitation of a story wherein the narrator, for reasons unknown, finds himself locked into a self-imposed exile. Two characters full of mimetic qualities, Reader and Listener, relate to each other exclusively through a text that Reader narrates. In the theatrical production, Listener's only agency comes from his ability to cause Reader to pause and repeat parts of the story by knocking on the table where they sit together. These repetitions are the essence of the story, as Listener's understated gesture is embedded with the loss of memory, intimacy, and of a sense of being. The erasure of Home becomes the source of abject sorrow in light of Listener's inability to preserve it, even within his own memory.

Certain elements of Beckett's text are transplanted and re-imagined as they are absorbed into the context of the Cinéorama. Examining these two texts alongside one another is a study in the tension that arises between the common impulse to wander and the simultaneous attachment to Home. While addressing these overarching themes, creating the work has also been an individualized response to the idea of going home. The town of Pemberville plays a prominent role in the visualization of this piece. Much of the imagery was collected locally and certain images are either rooted in or culled from the history of the town. The sound in the piece was filtered through a small section of earth taken on site, and the video that was projected in the original installation was re-photographed on an outdoor projection screen that revealed a trace of the blowing wind. Each of these gestures is an effort to absorb history and location within the piece and to create document that could contribute, in an intimate way, to this particular community.