Rhythmical Abstraction, 165 is concerned with volume, walls, and the negative space between them. Black dots painted on the white walls are numbered from 1 to 165 (which is the number of the room which housed this installation and marks the site specificity of the piece) occupying the surface of the white cube and continue back and forth between the walls, the ceiling, and the floor. The piece beckons the viewers to rhythmically move through the dots with their eyes, jumping from one number to the next, to have curiosity and persistence in finding the next number in the sequence, and have a constant movement between surfaces within the white cube – all of which activates the invisible (negative) space in this little room. In essence, Rhythmical Abstraction, 165 is a room filled by an imaginary sculpture, which is rendered in the viewer’s imagination. Rhythmical Abstraction, 165 attempts to acknowledge the negative space as a place where art can happen and where objects can exist, albethey invisible, and where they can freely transform into anything that the viewer desires: they exist within their non-existence.