Inverse Space

Inverse Space

2017

video 4,24'
sound: Scanner - Robin Rimbaud

The video Inverse space works on two levels of microscopic observation: the first line of recordings shows the transformation of a non-living (inorganic) substance from one physical state to another – namely, the process of crystallization, which involves the transformation of an ionic liquid state into a solid matter triggered for the purpose of maintaining a balanced system. The recording of the formation of various crystal types is interrupted by a set of static images of geometrically-shaped concentric patterns or grids, which function to periodically interrupt the visual field. These images illustrate the technological structure of the view and simultaneously reveal another level of microscopic visualization. The compositions consisting of points of light on a dark background, which are reminiscent of stellar constellations or similar, are the result of electronic diffraction on crystals which allows the visualization of crystals in inverse space. The system of microscopic lenses reveals the inverse (reciprocal) multidimensional space, which is mathematically expressed in complex numbers as the ratio between the real and imaginary values. Although the crystal images appear to be simplified, the reciprocal space in fact contains far more information than the physical three-dimensional reality that we typically inhabit. At the same time, microscopic observation of magical landscapes featuring the birth of crystals reveals the sublime beauty of multidimensional space, which extends beyond the mere visual to the limits of the intelligible.

Fluidna trdnost

Liquid Solidity

2017

video 5,06'
3D animation: Sunčana Kuljiš Gaillot
sound: Scanner - Robin Rimbaud

The round-shaped form in the process of constant transformation is based on the idea of simulating life at the molecular level. The structure, which periodically resembles a virus structure, complex proteins or carbon fullerenes, is being decomposed, transformed and re-shaped in a string of regulatory processes. The fusion of elements according to the rule of shape and anti-shape (the key–lock principle), chain formation, deformation with multiplied symmetry or a simulation of the Brownian motion create a flexible abstract form, which in a state of constant metamorphosis tends to seek stability. The simulation of processes at micro- and nano-scales reveals the surprising fact that many substances at the molecular level, as they strive for stability, flexibility and indeed their very existence are formed and arranged according to some intelligent order, even though they are not actually alive.

Reciprocnost

Reciprocity

2017

diptych: laser-cut and digital print on plexiglass,
dim: 200 x 135 cm

The hanging objects present microscopic images of a carbon substance and its digital mapping (transcription) into a reciprocal space. Perforation of the transparent carrier-surface and the accompanying shadow cause the object to become dematerialized and the transition of the material into an immaterial state in space.

Polimorfni odtis

Polymorphic imprint

2017

installation composed of 4 reliefs (3D print) and 4 photographs (digital print on acrylic support)
dim: reliefs (each): 80 x 80 cm; photographs: 60 x 60 cm

The crystal structures are microscopically analyzed using computer programs, which allow the simulation of mapped image projections into the inverse (reciprocal) space. The manipulation or reduction of data using filters in the domain of inverse space – which is considerably more complex than real space – and the subsequent projection of the motif (based on the partial information) back into the real space generates a transformed version (copy) of the original image. As a result of this mapping the motif is still recognizable; however, the original form has been changed.

Ground reliefs are based on and developed through such mappings and modifications of the image, which was created during the process of microscopic observation of the carbon substances (see the work Reciprocity). The three-dimensional imprints of images, which were created by diffraction in the inverse space (the filters used in this procedure are illustrated by the graphics on the wall), express the similarity embodied in diversity (dissimilar similarity) and from this perspective represent polymorphic imprints of this particular sameness.

The procedure involved in digital mapping and spatial projections, which shape the transformations of the same motif, metaphorically address questions of perception and the selective operations of the psychological structures (perception filters) that define them. These serve to express the idea that our reality is a complex imprint of reciprocal (multidimensional) space, while the polymorphic shape of the visible is created out of the subjective nature and conditions of perception.

Observatorij-nanocevke

Observatory: carbon nanotubes

2016

sound-kinetic diorama
exterior: acrylic object in crystalloid like form;
interior: relief, turntable, light, sound
sound: Scanner - Robin Rimbaud
dim: 115 x 72 x 70 cm

The kinetic diorama submerged within and enhanced by the audio environment observed through an opening in the surface of a crystal-shaped object imitates the structural makeup of carbon nanotubes visible through a microscope. A hub of tubes creates a nano-topographic simulation, whose technical attributes reveal another specific characteristic uncovered within the domain of light technology: carbon nanotubes, which represent a compelling potential, since they allow, indeed facilitate the transformation of electrical energy into light with virtually no heat loss.

Observatory

Observatory: magnetic fluid

2014-2016

sound-kinetic diorama
exterior: acrylic object in crystalloid like form;
interior: relief (three-dimensional cast), turntable, light, sound
sound: Scanner - Robin Rimbaud
dim: 110 x 60 x 60 cm
Photo by: Damjan Švarc

A miniature silver landscape in motion that can be viewed through the observation perforations in the partition wall is based on the photographs of magnetic fluids that served as the basis for digital model development and the resulting 3D printed reliefs. In the act of viewing the framed panorama in the static position, the viewer loses a sense of scale; the tiny spiked structures of the kinetic surface take on the appearance of the surface topography of some distant planet. Dematerialized by its own reflections, the artificial landscape blurs the distinction between the real and the virtual. Simulacra of the natural metaphorically mediate the idea of nature as a projection, one that mirrors our own projections and perceptions.

Fluidna

Fluid Topography

2014

video 13,16'
sound: Scanner - Robin Rimbaud
video effects: Sunčana Kuljiš Gaillot

The recording of dynamic forms of magnetic fluids that are produced by invisible magnetic fields direct the experience of the material in relation to the immaterial. The ferrofluid structures, which are in reality only a few centimeters in height, being transposed into a digital environment operate as macro-scale phenomena that simulate characteristics of the organic, the animate. Fluid topography acts to simulate a natural living organism or process, which by revealing the sphere of unseen magnetic physical attractions and energies works to (re)direct the viewer towards more subtle, usually imperceptible aspects of reality.

Ferokrsitali

Ferrocrystals

2014

laser-cut and digital print on plexiglass,
variable dimensions
Exhibition views at UGM, Maribor (2016) and Today Art Museum, Beijing (2016)
Photo by: Damjan Švarc

Photosensitive images are based on microscopic images of the nanoparticles of a magnetic fluid's crystallized structure. Digitally processed and laser-treated images of organic patterns reveal the invisible arrangements at nano-scale dimensions. At the same time the material reproductions on the glass create dematerialized sensory bodies whose projections transform our perception of space. The installation implies a moving viewer, as the surface textures vary with the viewing angle.

Luminiscence

Luminescence

2012

light-kinetic installation; turntable, silver plating plexiglass dim. 70 x 90 cm, light reflections variable dimensions sound: Scanner - Robin Rimbaud

Bodyscope

Bodyscope

2012

video projection (2,50'), print on aluminum
dim: 150 x 200 cm
sound: Scanner - Robin Rimbaud

Fibertract

Fibertract Kaleidoscope

2012

video projection, print on plexiglass
dim: 100 x 138 cm (x 2)

AnatomicalTransfigurations

Anatomical Transfigurations

2012

X-ray films, four-part series
dim: no. 1: 155 x 116 cm, no. 2: 155 x 124 cm, no. 3: 145 x 124 cm, no. 4: 145 x 116 cm

Anatomical Transfigurations explores the effects of medical visualizations and mediation of the internal body upon the altered perception and valuation of the body today. In a broader perspective it questions the dichotomy between physical and mental, eternal and transitory, thus exploring and expanding the traditional theme of vanitas. The transfiguration of anatomical fragments as recorded by conventional x-ray techniques into new visual representations effects a re-contextualization of scientific medical imagery into the field of art.

Vanitas

Vanitas – Self-portrait

2012

video loop 1,54'
sound: Scanner - Robin Rimbaud
special effects: Sunčana Kuljiš

Video Vanitas – Self-portrait presents a hypnotic image of the continuous dissolution of the author's face, skull and brain. The repetitive liquefying interplay between the exterior and the technologically-visualized exterior posits the question of visible and invisible, physical and mental. However, the image of the skull is not only a metaphor for the transience of life and the inevitability of death; in relation to the sound of rhythmic respiration it evokes death as a faithful companion of life and its faithful shadow, and in turn illuminates the meaning and value of life, heightening the consciousness of human existence.

Vanitas

Self-portrait – Camera Oralis

2012

digital print on plexiglass
Variable dimensions
Collaboration: Uroš Abram

This series of photographs was produced using a particular form of camera obscura created by the artist's mouth. Technically the images are based on the use of a small piece of photosensitive paper installed in the mouth with the aperture located between the lips: the projection of light 'draws' an outline of the body observed and the exterior body is displaced in its own interior. However, the shape of the body, resulting in such an analogous process as an imprint of light, is not the only element determining the image; it occurs via a mixture of other types of imprints produced by the body itself - fingers, saliva, tongue, teeth, etc. The resulting 'visceral' self-portrait is permeated by corporeality and does not singularly 'represent' the bodily.

Fractal-fimg-fs

Fractal

2012

mirror - glass (dim: 120 x 80 cm), light projection and reflection

The light work Fractal is part of a series of works dealing with the idea of the 'transparent body'. Formally the work is based on a radiological image of the brain, the use of light sensitive materials and the integration of non-material phenomena such as light projections and reflections. The diffracted image shows the branching of blood vessels and also, because of the vertical installment, resembles the structure of the pulmonary bronchi. The fractal structure of the corporal organ maps the invisible geometry of the body, while the light dematerializing the image suggests the impermanent and fragile essence of the physical, whether organic or artificial.

Kaleidoscopic Gaze

Kaleidoscopic Gaze & Spiral Floating

Kaleidoscopic Gaze, 2010

video projection onto an image on a mirror (video loop 6'); two mirrors (90 x 180 cm; 90 x 110 cm), foil covering, projection and reflected light variable dimensions sound: Scanner - Robin Rimbaud

Spiral Floating, 2010

video projection onto a semitransparent screen (video loop 6'); two Plexiglass screens (110 x 130 cm), foil covering, projection and reflected light variable dimensions sound: Scanner - Robin Rimbaud

The installations Kaleidoscopic Gaze and Spiral Floating are based on digitally- processed radiological images of my brain activity while contemplating Duchamp's Anemic Cinema, which was conceived as an optic dispositive inducing a four-dimensional spatial-temporal perceptive experience in the viewer (by alternating the concave and convex effects of spiral swirling). The kaleidoscopic pattern of the video aims to similarly expand the viewer's perception and consciousness; the repetitive, hypnotic pattern of light projected onto the image reflected by a mirror produces a layering of fractally-fragmented reflections, that is, a virtual multi-dimensional space in motion.

Butterfly

Butterfly

2010

video projection onto an image on a mirror (video loop, 3')
mirror (110 x 110 cm), foil covering, projection and reflected light
Variable dimensions
Sound composition: Scanner - Robin Rimbaud

The video installation Butterfly uses radiological images of the author's brain responding to different colors. The image of a butterfly changing colors is formed by a light reflection of a video that is being projected onto a horizontal image on a mirror. It alludes to the concept of the "butterfly effect", which in chaos theory posits that slight, even infinitesimally small variations in the initial conditions of a dynamic system may produce extreme and unpredictable results in other space and time coordinates: that a butterfly flapping its wings could set off a hurricane on the other side of the planet. The shape on the mirror is a graphically processed image of my brain; the butterfly reflection is a metaphor for the power of our "invisible" thoughts, our emotions, our so-called mental worlds, conscious or unconscious, that keep changing the physical reality surrounding us. Butterfly deals with the interconnectedness of the visible and the invisible and questions the causal relations between the perceptible and the intelligible.

Airscapes

Light Crystalloid

2008

LED diodes, plexi-glass, aluminum frame
dim: 80 x 250 cm

Luminous

Luminous

2008

plexiglass, reflective foil, resin, light reflection
variable dimensions

Pulsation

Pulsation

2007

video 4,23'
sound: Damir Šimunović

The video work Pulsation presents pulsating light phenomena, the bodily and the technologically generated hybrid as a luminous apparition composed by layering reflected light, video projections of radiological scans of the artist’s brain and related manipulated recorded video images.

Levitation

Levitation

2007

plexiglass, reflective foil, resin, light reflection
variable dimensions

Lumina

Lumina

2007

plexiglass (200 x 140 cm), resin, light reflection, light projection
variable dimensions

cross-sections

Cross-sections

2007

plexiglass, aluminium plate (100 x 150 cm), resin, light reflection, light projection
variable dimensions

Transitoriness

Reflective Transitoriness

2006

kinetic light installation
reflective foil, artificial resin, rotating motor, lights
variable dimensions

A transparent picture is suspended on a rotating engine installed on the ceiling and is illuminated by two halogen projectors. It slowly rotates and projects moving, crystal-like light rays and veiled reflections. The fractal form on the plate is a computer-modified image of an X-ray scan of the author's brain. The reproduction is two-sided, made of two types of material – one that reflects like a mirror, and another that enlarges like a magnifying lens, thus creating a condensation of light into a crystalline projection. The kinetic, multilayered spatial structure creates a virtual picture of membranous veils of light, which in the dissolving borders between the exterior and the interior, the projected and the reflected, metaphorically speaks of transitoriness, non-determination and the multidimensional spatial/time essence of every system, the sensible (natural or artificial) as well as the intelligible.

Cerebral Landscapes Reflection

Cerebral Landscapes (Reflection)

2006

kinetic light installation
bended plexiglas, light projection, electronic light modulator
variable dimensions

Four projectors illuminate a bent piece of plexiglass positioned horizontally on the floor that reflects a multi-layered image: an organic-like structure on the wall of a triangle-shaped space. The light is manipulated with an electronic modulator, which regulates the intensity and speed of the projection, thus giving the impression of a slow, wave-like movement of a three-dimensional porous structure. The project deals with the visualization of pulsating pre-cerebral states, mental-sensory patterns and mental energies. Cerebral Landscapes – Reflection can also be understood as an artistic metaphor of dichotomy, implied by the dual meaning of the word reflection, since it can denote the optic phenomenon of light reflection or a mental activity – a concentrated process of thinking.

Virtual Glazing

Virtual Glazing

2006

digital video projection
variable dimensions

This kaleidoscopic rhythmic structure of a recurring pattern is not a computer-generated picture, but a video recording taken on a digital camera and a kaleidoscopic instrument. The infinite recurrence of one and the same element in micro- and macro-measures within the fragmental but also well-ordered kaleidoscopic structure gives the impression of a hypnotic and meditative state. The projection of simulated vitriol into an architectural window niche reminds one of the ways light is used in sacral architecture, and at the same time challenges our perception of differentiation between the real and the illusory.

Crystalline Diagram

Crystalline Diagram

2006

reflective foil, plexiglass
dim: 2,5 x 0,5 m;
A fractal-like crystalline shape made of reflective foil on plexiglass creates a diffraction of light and forms an abstract color image of the light spectrum – a rainbow on the wall perpendicular to it. The composition is a computer-aided image showing an isolated brain vessel, which as part of the human blood system presents a natural fractal form.

Introspection

Introspection

2006

video loop, magnetic resonance imaging
sound: Damir Šimunović

The image of the brain created using medical imaging technology presents primary insight into the interior of the human skull. The movement of fluid forms is both concrete and abstract. The circular framing and the dynamics of the organic pattern create a hypnotic picture, which can be experienced as a visual equivalent to the flow of as yet articulated, abstract states of thought, unconnected meanings, fragments of memory, feelings and more.

Lux Aeterna

Lux Aeterna

2006

site-specific installation (La Cittadele, Saint-Tropez)
plexiglass (150 x 200 cm), resin, light projection, sand

Micronature 2005

Micronature

2005

mixed techniques on tracing paper
dim: 30 x 40 cm (4), 50 x 60 cm (2)

Attractions

Attractions

2005 / 2010

video 2'
sound: Scanner-Robin Rimbaud

Principle of Attraction

Principle of Attraction

2005

kinetic-sound installation; plastic object, rotating magnets and metal particles
dim: diameter 70 cm

Attractions Similarities

Attractions – Similarities

2005

four kinetic objects with magnets and metal particles
dim: diameter 12 cm

Traces

Traces

2005

synthetic color on acrylic support
dim: 20 x 20 cm (15 pieces)

Crystal Shade

Crystal Shade

2003

plexiglass, artificial epoxy resin, mirror
dim: 85 x 300 cm

Gradual Passage

Gradual Passage

2003

plexiglass, artificial resin
dim: 100 X 180 cm

Vaporscape

Vaporscape

2003

plexiglass, artificial resin
dim: 180 x 100 cm

Dimension of Divergence

Dimension of Divergence (v. 1: Aquarama, v. 2.: Smokescape)

2003

video projection, plexiglass, acrylic paint
v. 1 dim: 85 x 300 cm, v. 2 dim: 100 x 200 cm

Translucent Membrane

Translucent Membrane

2002

plexiglass, artificial epoxy resin, shadow, reflection
dim: 180 x 100 cm

Translucent Membrane Micronature

Translucent Membrane – Micronature

2002

plexiglass, artificial resin
dim: 100 X 180 cm

Reflection

Reflection

2002

bend plexiglass, reflected light
Dim: 100 x 200 x 60 cm

Incubator

Incubator

2002

multimedia interactive sound-light installation
collaboration: Tao G. Vrhovec Sambolec

Nature-2001

Nature

2001

artificial resin, pigment;
dim: 120 x 130 cm

Cerebral Landscapes

Cerebral Landscapes

2002

graphic color on synthetic support
variable dimensions

Nature

Nature

2001

graphic color on a tracing paper
dim: 80x150 cm