This series explores the threshold between the polarity of interior and exterior. A series of color prints collectively titled November uses shifts in scale and photography as way to limit the access to the interior of these built spaces to the realm of the imagination. In this work sculptural objects absurdly reminiscent of minimalist cubes, but made from the everyday domestic material such as sleeping bags, curtains and woven rugs, become unzipped and pulled back to reveal interiors glowing with fluorescent light. These wheeled structures suggest the nomadic dwellings of tents, teepees, and yurts, but though their awkward scale is large enough to fit inside, it is also small enough to discourage it. The interiors are made further inaccessible as they become props for photographs set in a large expanse of woodland. These follies spill their impossible light onto the dark floor of the forest and the foreign pairing of the object and the environment illuminates the uncanny character of each. The photography of the mini huts further disrupts the ability to judge the scale of them.