Ephemeral and sometimes site specific, Gallois’ art making from this period often appropriated and interpreted existing structures on a one-to-one scale. Within these recognisable frameworks, slippages or shifts in material and spatial reality were introduced creating environments that were both familiar and alien: a house is made from polystyrene Frontier (1998). A film-set in its entirety is painted in Blue Screen Chroma Key – a special effects paint used in film to create a void background Flesh Hunger (2001). And a detention camp is experienced in repetition Containment (2006)
The art works of this period concurrently expressed a sense of alienation, critiquing situations or structures that contribute to socio-environmental ruptures, or a lost cultural / spiritual sense of belonging to, or identification with place. For example, Flight 934-B (2000) documented the passengers of a 747 transcontinental flight suspended between destinations; Caravan (2001) created a narrative around an invisible constituent who lives on the fringes of society; and Containment (2006) explored the psychology of the Australian Federal Government’s policy of long-term detention of “unlawful non-citizens”.