Scale as such is a year-long investigation on scale as a fundamental property within art and architecture, experienced through a subject in its comprehension of space; concerning disciplinary relations of/between mind and body. It is an attempt to hyper-realize our relationship with the 'object' and its 'objecthood'. Using movement and first person perspective, the work transgresses from the material property of space to the perceptive faculty of human cognition, bringing into concern the questions of mind-body, inside-outside and fragmentation-integration. In its experience of space through movement, the subject’s relation to the surrounding is actively referenced by framing devices like a door or a window and other inanimate objects.

The human experience, as per the psychological investigation is subdivided into fragmented and disconnected elements which are aligned in specific configurations and patterns. It dealt with concerns of human vision constructing the real through experience and sensory perceptions while also at the same time maintaining the insistence on the existence of real as real. Scale is implicit in human perception. Through the experience of identifying known objects, scale fabricates intermediate relations between them to imply false depth making spatial connotations. Scale is relative here.

Scale is articulated in reference to James Gibson’s classification of ‘visual world‘ and ‘visual field’; the former refers to the real and the latter represents a pictorial representation of the real as a flat image recorded by the retina in the process of seeing. The relative aspect - contingent to scale, is further emphasized by phenomenally scaling up and down of objects corresponding to the movement around them. It is the shift in scale of these objects that mediates their relation into architecture concerns of spatiality and function. It further aims to investigate on the affect and effect of scale on body - as a phenomenal object and on mind - as a cognitive subject.