This thesis examines Allie Wittmann?s artistic practice by navigating the concept of decentering the art object and applying form to the formlessness in spaces. By using immersive installations as a way to push back on having an object at the center of an artwork and through research based in decentering philosophy and theories, Wittmann argues that by decentering an object, projected cast shadows become a replacement for object-based artwork. She also argues that material is a tool to give form to both natural and artificial light, in other words formlessness. With reference to artists in the Light and Space Movement, Rudolph Arnheim, Maurice Merleau-Ponty, and the implication of spirituality, Wittmann places her work among the art where light, time, and color are viewed as tools. Space, once paired with time, becomes relevant with or without an object and with or without a viewer. With site-specific work, Wittmann uses the provided architecture to accentuate light within a space. Because each installation is different, she utilizes the contrast of each work to create a playful interaction that is unique to the viewer's experience and the architecture surrounding them. Calculated decision-making becomes prominent when light enters a space, affecting how long the space is illuminated and what design form it takes.