Recently I finished a project, Void Simulacrum, spanning three years which involved the participation of passers-by who freely distorted a brightly colored spandex prop into multiple shapes. The setting of the piece varied from galleries to public spaces. The negative space between people was filled by the fabric thus creating a kind of parasympathetic form. Interestingly, the project gave rise to something more than formal aesthetics. With Void Simulacrum, I experienced signs of divisionism with regards to class, race and gender groups within my temporal locale. The gap between aesthetics and politics was bridged temporarily when sociological tensions were set aside to participate in the project. After the project’s ending I realized that negative space and participation are important because of their formal and political potentialities. Currently I am pursuing the possibilities of using negative space through the exploration of unfolding architectural sculpture; emerging from something which is distant into something the viewer can become. This will result in eliminating the gap between the viewer and the art.