Passage II (2013) refers to the division between closure/passage and division/indivisibility. A full-height turnstile is situated in the middle of a room where all the walls are covered with mirrors and its reflection is multiplied endlessly.

The person passing through the turnstile not only experiences the claustrophobic effect of a single barrier but also confronts the illusion of infinite repetition. The mirrors create a sense of infinity that challenges the concept of a border, which traditionally represents something finite—a boundary, an edge. The aporetic nature of the gate, simultaneously dividing and connecting, emphasizes the philosophical dilemma between the finite and the infinite.

Full-height turnstiles are commonly used in high-security environments, such as border checkpoints, football stadiums, prisons, and factories. They resemble human-sized cages more than gateways. Roughly the size of a phone booth, they are enclosed by iron bars on all sides, with a rotating iron bar system that requires significant effort from the person pushing through. Some turnstiles also incorporate security cameras that monitor and control each individual. These features create an uncanny atmosphere, evoking an instrument of confinement more than a passageway. Full-height turnstiles are conditions of permitted access, yet they evoke sensations of entrapment, torture, isolation, and imprisonment.

exhibited in Mamut Art Project, 2013