Border Crossing places the viewer directly at the border and is intentionally confusing. A cornfield, for instance, is not just a field—it’s a potential hiding place. What one person may consider a simple refuge can be a matter of life and death for another. Border areas are not just physical spaces but existential zones—more of a condition than a concrete fact—often creating an experience that is deeply personal and alienating.

The sound, a composition by sound artist Jan De Vroede, enters into dialogue with the visual elements, adding another layer of depth to the experience.

Like the borders themselves, the relationship between image and sound is associative and sometimes ambiguous. The audience becomes part of the work, engaging in an experience where they can choose what to focus on and for how long.