Buffalo’s Central Terminal is imagined as a transitory site, both in its original function and in respect to its flagging viability and gradual absence from the public consciousness.
An oversized, stereo viewing device, similar in appearance to an elongated pair of binoculars, transmits photographic and moving images to the viewer as they engage with the piece. Considering the form of the stereoscope, the right and left channels address the duality of the Terminal. One channel is composed of video (movement, transport, vitality) while the other is photo-based (immobile, lacking momentum). The simultaneity of the viewer’s engagement forges a concise meditation on the historical and contemporary status of this architectural landmark.