In the project PLAN B advanced technological methods and digital processing are used to create video panoramas that unfold on the gallery walls side by side. The videos depict a surrealistic urban desert full of architectural remains, a collection of ruined antiquities that comprises an abandoned futuristic post-apocalyptic space. The scene produces a set for a film that has no actors, an invented space that serves as a backdrop for an enigmatic story that is not visible to the naked eye. Although its invented spaces do not represent real environments, they are composed of pieces of local reality. They consist of dozens of photographs taken in various locations throughout the country, many of them at construction sites and in newly built neighborhoods growing around the artist’s residence. In her photographs, Uzan isolates various architectural elements, removes signs of life and identification marks from them, and prepares building blocks, from which she assembles digital collages of slow-moving and mesmerizing spaces. Since all the elements were photographed in reality, the work has a sense of familiar reality, simultaneosly ancient and futuristic.

Inside the gallery,  a closed and low-ceilinged interior room receives a separate treatment: A peek inside into the space reveals an enigmatic interior architecture, an imaginary a hidden world, an entire life simmering beneath the surface. Through its opening there are visible signs of life, strange machine-like creatures raising unresolved questions.