'Waiting To Wait Some More' is an installation about the feeling and concept of waiting. Although waiting has its meanings, it has no clear visual representation. This project is an attempt to describe the meanings attributed to this word and how these periods in time are felt and perceived. If no one can draw this act in time, why do so many places in the world have rooms dedicated to it? The waiting room, from which this installation takes its structural inspiration, was where I started researching what waiting is and what it entails. The common things usually found in a waiting room became the pieces of this project. Each thing in the room is used to depict a certain aspect of waiting. This is done not to represent it visually, but rather to create a visuality of the concept. The television is the center piece of the installation. While waiting, people seek to be entertained as a form of escapism. The television screen, instead of entertaining, broadcasts a program on the topic of waiting. Waiting: The Movie is a personal video essay trying to decipher an aspect of time and its visual mysteries. It borrows its structural language from the documentary, with a narrator describing the many aspects of the concept and slightly delving into its personal relationship with the word. The poetic voice of the narrator and the vision of the editor are not in complete sync. The video exposes its own weaknesses in trying to create a visuality of the problem, using media that spans from personal footage, to archival images and culminating in 3D animations. Its three chapters each explore one point of view on the problem: what it is, who experiences it, and how to not think about it. Although this video doesn’t offer any escape from the present moment in the room, it helps those waiting pass the time. An essay sits on a small table next to one of the chairs. While many people choose to spend waiting periods wisely, by reading and learning new information, the printed essay, is a philosophical and personal depiction of the concept of waiting. It informs, but it just reiterates the experience being lived. The imagery of a waiting room usually tells us what we are waiting for, but here, the images on the wall are also waiting. They wait to be read and interpreted, they wait to be given value and meaning. The two large Cibachrome prints hanging above the chairs are both still and cinematic. They represent the sharper perception of small moments large periods of waiting can bring. The set of five Instax photographs, framed together with different fortunes represents not a period of waiting, but those who wait. It serves as a depiction of those so lost they are waiting for a sign, here represented by cheap and bland statements that came from a fortune cookie. The photographs in the frames are also bland, void of people they are what we see in these moments of contemplation. The statements lead to nothing, making us go from one image to the other in search of an answer to this wait. We are instead faced with a sign on a door telling us that this will end ‘shortly’. With this cycling around the room I wanted the spectator to feel this aspect of uncertainty in waiting. I want the spectator to once again sit on the chair and wait to wait some more. The chairs are surrounded by two pedestals on their right and a small table holding the essay on the left. The two pedestals hold different objects, a small statue of Buddha, sitting on top of a photograph of a parking lot, and a desk plant, made from plastic. Taller than the chairs, these objects, in contrast to us humans, sit patiently. They wait.