The installation is divided into spaces that the viewer can wander through in order to experience the Gingerbread House. The spaces incorporate both the inside and the outside of the Gingerbread House. It is intended that the viewer becomes immersed in this other world and is able to make meaning from the artworks as they encounter them. It is not expected that this immersion can be replicated online, however, viewers will at some point be able to enter the physical fairy tale space once Covid restrictions have eased.
The forest in which the Gingerbread House is situated has been constructed using wall panels and enchanted trees made for a previous exhibition, but they have been adapted and added to in order to work better for this installation. Mirrors have been used as part of these panels, on the walls as art objects and on the floor to represent a reflective body of water. From a health and safety point of view, and to safeguard the works, the viewer will not have direct access to some of the work, e.g. the shelves. Consequently, barriers have been constructed to prevent the viewer from entering certain spaces. As much as possible, these barriers have been constructed so as to blend with the rest of the installation. For example, a small foot bridge enables the viewer to see and experience the forest without being able to walk through it.
The artist-teacher-witch will at times be 'at home' in the Gingerbread House, and the public will be able to see her involved in her creative process as well as try some of her recipes themselves.
The exhibition will also include a screen which will be running various videos in a continuing loop. These will explain various aspects of the work, its context and meaning so that viewers can experience more fully aspects they may not be able to handle or interact with closely.