The work of Gudrun Nielsen attempts to thwart people’s routine sense for their surroundings. We project the identity of a place onto it, depending on recognition and experience. Nielsen contests this detached association of the known with the new. Drawing on geometry and reflecting on Japanese aesthetics, she develops ways to reinvigorate attentiveness. Her background studies in the relationship of art and architecture motivate her position for the sculpture, Labyrinth. She introduces a maze in the Botanic Garden, a structure that momentarily choreographs the viewer’s movements and experience, diverting the focus points and resisting the notion of a full overview. A subtle moment of indeterminacy alerts our senses and gives way to a conscious engagement with the immediate environment.