Cycle No.1,
Y2 / X1 / Y1 / X3 / Y3 / X2, 9 Sec.
6 lasers, control system,
haze machine, tripods
18 x 18 x 3 m
The installation is based on an XY grid, which divides the garden space into twelve squares (of 4.5 x 4.5 meters). Six lasers are placed along the outlines. Each laser generates a light wall which is projected over the entire width (X) and length (Y) of the grid (view technical drawing). The lasers are alternately switched on and off in short intervals, in which a laser on the X-axis is always followed by one on the Y-axis with always one laser wall visible.
When the observer relates the switched on and off light walls to each other, different rooms arise through the imagined intersections. These spaces remain in so far ideal, as they never fully materialized, it superimposes the actual appearance with an imaginary. In the continuous change of a perfect straight propagating light, this binary ON / OFF resembles the ideality of a sketch without paper. The grid as a digital system, as the foundation of the spatial declination, becomes at last itself the object of contemplation.
ON/OFF, (Cycle No. 1, Y2 / X1 / Y1 / X3 / Y3 / X2, 9 Sec.), 2014 — 15
6 lasers, control system, haze machine, tripods
18 x 18 x 3 m
The installation is based on an XY grid, which divides the garden space into twelve squares (of 4.5 x 4.5 meters). Six lasers are placed along the outlines. Each laser generates a light wall which is projected over the entire width (X) and length (Y) of the grid (view technical drawing). The lasers are alternately switched on and off in short intervals, in which a laser on the X-axis is always followed by one on the Y-axis with always one laser wall visible.
When the observer relates the switched on and off light walls to each other, different rooms arise through the imagined intersections. These spaces remain in so far ideal, as they never fully materialized, it superimposes the actual appearance with an imaginary. In the continuous change of a perfect straight propagating light, this binary ON / OFF resembles the ideality of a sketch without paper. The grid as a digital system, as the foundation of the spatial declination, becomes at last itself the object of contemplation.