She maps given GPS coordinates to enact the series of walk/drawings via the interface, towards a "map-drawing within"[4] to "exemplify the marriage of psychogeography and the physical re-tracing of the walk, with their powerful impact resonating from the disorienting orientation of their location and position in space.
The collaborative project aimed to explore the nature of reality by framing physics topics for artistic interpretation, in which Gellman produced a series of six drawings titled "Invisible Landscapes" made of conte on Japanese Obonai paper.
John O'Brian reveals Gellman's artistic contribution to the project as addressing "resonances she finds between indigenous knowledge, art, and science"[5] as she poses inadequacies of European languages to articulate relations.
She offers that by "shifting our lens to include Indigenous concepts of kinship and animacy and embracing embodied understandings of our inherent relationality rather than merely attempting to explain them, we may successfully achieve the impossible: reconciling our perpetual interaction with otherness.
[12] Gellman states that the acknowledgement emphasises the "importance of Indigenous pedagogical and methodological innovation in post-secondary education in Canada – a recognition of a way of teaching that encourages wholism and wonder, kindness and generosity, creative resilience, personal observation and accountability, and co-operation and relationship-building above all else.