White Mornings highlights the performative and interactive element between the outsider and the body of the chair. Death is the only certainty in life, and this object seeks to investigate presence and absence and the marks left behind in each case. A physical and psychological conflict between autobiography, habit, and innateness emerges; creating an uncanny disturbance. From inside out, from subconscious to conscious, binding memories and latent characteristics unfetters the experience. As a result, the connotation of the chair is altered within an acquainted context. The chair is created around the concept of shrouding in Muslim burial rituals, the body of the deceased is washed, put on a bed for a wake and then enshrouded with a white cloth The cloth, purchased in Lebanon, enriched with personal experiences, brings memories of burials of deceased family members. The process of composing the chair is a personal experience but as soon as it is placed in surroundings where outsiders can use it, the chair becomes about their experience.