Over the last decade, Alex Da Corte has become known for creating immersive installations that transform galleries into dreamlike environments by integrating paintings, sculptures, and videos with lighting, flooring, sounds, and smells. Da Corte's installations are densely populated with readymade objects and consumer images that superficially reference the commodity culture of the immediate past and upon further inspection provide poetic insight into the human condition. Da Corte brings together objects that, while from a variety of sources, share a common history of use and disuse. In doing so, his assemblages take into account the shifting and fleeting status of desire in a digital era and the troubling oscillation between intimacy and distance that characterizes our encounters with objects as well as with one another. In this thesis, I will analyze how Da Corte's ongoing series of installations made in response to Arthur Rimbaud's 1873 prose poem, A Season in Hell , slow down the immediate representational gratification we have become accustomed to in the digital era by activating the viewer emotionally in an immersive, virtual environment.