This installation takes the form of a house-shaped frame designed for display within a white cube gallery space. Moving light animates the suspended metal silhouettes, casting shifting shadows that continuously transform the work and give new life to the figures. The silhouettes are cut from metal sheets and based on press photographs documenting the 2015–2016 refugee crisis.

Their suspended arrangement evokes the fragility of marionettes, emphasising vulnerability, precarity, and the loss of agency often experienced through displacement. The installation functions as both a physical structure and a symbolic shelter: a house without walls that simultaneously offers refuge while exposing absence.

Conceptually, the work offers an indirect commentary on the spectacle of suffering, a theme explored throughout my thesis in relation to the ethics of representing the pain of others. By translating media photographs into cut metal silhouettes, the installation resists the immediacy and consumability of journalistic images while insisting on material presence. Hovering between light and shadow, presence and disappearance, the figures invite reflection on how displacement and human suffering are witnessed, mediated, and remembered.