Melissa Clinch uses ideas of architectural anamorphosis to create a series of spaces and semiotics that inhabit that great exposition of anamorphic painting Ignatius of Loyola Church in Rome. The church has an anamorphic painted ceiling and an extraordinary painted anamorphic dome. From certain positions in the nave the dome looks perfectly real in others is reveals it for what it is a distorted painted form on the ceiling. Clinch position a three dimensional forms within the church that create fluctuating architectural spaces according to the dynamics of the observer. These spaces open and collapse as one moves and help the viewer understand the science of anamorphic projection and also the rituals and history of the church. These objects operate like four-dimensional hypertexts.