This immersive maze installation and video game critically explores diagnostic processes within both mental health discourse and historical revisionism, engaging the thematic construct of visibility and concealment, specifically, the phenomenon of what remains hidden in plain sight. Anchored in the artist’s personal ancestral lineage, the project interrogates how inherited behavioral patterns and the lingering structures of colonial domination often obfuscate the pursuit of root causes for psychological and generational trauma. Each room within the maze embodies both a familial figure and a specific sin that has bound that figure and, by extension, the broader lineage. Through this structure, the installation examines not only personal and spiritual entrapment but also the systemic transmission of moral and psychological affliction across generations.

 

Sculptures and visual artifacts act as perceptual thresholds, objects that represent realities invisible to most, yet hyper-visible to the artist. These artifacts evoke altered states of recognition, drawing attention to unseen spiritual burdens and emotional architectures. Central to the work is a theological and political proposition: the redemptive sacrifice of Jesus Christ is positioned not as a tool of colonial control, but as the ultimate act of liberation from sin and structural oppression. In doing so, the project actively refutes the historical misrepresentation of Christ as a “white man’s God,” instead presenting Him as the defender, deliverer, and redeemer of African peoples and all those globally enslaved by both spiritual and sociopolitical sin.

 

The work invites viewers into a process of confrontation and reflection, on inherited trauma, on the complicity of history in systems of concealment, and on the transformative potential of faith as a radical force for both personal healing and historical truth-telling.