Shelter for Daydreaming is installed in a dark gallery to emphasize its dreamlike quality, suggesting the immersive power of the cinema. Two videos running simultaneously are projected onto opposite sides of a floating wall. Suspended from the ceiling about one foot off the floor, the wall divides the gallery into halves, causing the viewer to circle around the space to see both projections. On one side of the wall, a miniature Victorian house floats partly above and below a limitless seascape as gurgling underwater sounds fill the space. The other side shows the interior of a vacant house projected close to life-size, as the camera swings back and forth between two rooms and the sounds of creaky wood dominate this half of the gallery. Images of water and shelter carry powerful metaphorical meanings, engaging some of our most basic needs and unconscious fears, reflecting the documented connection of film and video to the mechanisms of the unconscious. By introducing archetypal imagery as well as shifts in scale, Jenkins invites the viewer into a world of dreams, the premier path to the unconscious, in which the boundless ocean evokes good and evil, desire and fear. A recurrent motif in Jenkins’s work, water suggests life, birth, and the maternal but can also trigger images of death. The picture of a house can provoke many symbolic associations as well. Facilitated by the artist’s camera work and carefully orchestrated sound and installation, Jenkins’s video loops entice us to forget the reality of the gallery surrounding us. Transporting us into a state of what she calls “in-betweenness.” Jenkins seemingly suspends the rules of gravity. Thus affecting viewers’ sense of balance she alters the boundaries between the physical and the purely visual, making spectators very much aware of the act of looking.