Amerika is constructed by the connection of three-dimensional dots
in a grid system. As a result, it creates a border, division, or wall that weaves and captures the textures of adjustment, the gradients of identity, and the emotions painted by migration. 

The barely visible object is placed at a distance from a wall, creating shadows that look like line drawings. Amerika is not only an artwork that creates space but also infinitely captures the space. This contradiction of a three-dimensional object that looks flat creates an in-between zone. 

This third cognitive space can be described as either a temporary autonomous zone or in a less political set to the kafkaesque world. They are both very chaotic systems that are both the thesis and antithesis of governmental societies. 

This zone is a container of liberation where time and imagination run free. The in-between zone is not totally governed by space but by a feeling of utopia and belonging. There is no right or wrong but peace in chaos. In many ways, the immigrant's journey is akin to being in unfamiliar soil. Still, it is not disturbed by this fact, probably because immigrants are entangled in an unending cycle of complexity and decision-making that, eventually, a space of in-betweenness finds its way into their souls.