Suspensions
2019
video 7'Sound: Scanner - Robin Rimbaud
The video creates an entry into fictional reality, where objects are transformed into fleeting luminary apparitions – softened, multiplied, liquified forms levitating through warped or non-gravitational space.
Suspension (Circle-Square)
2019
video 6,’42Material objects (sculptures) are projected into virtual, fluid spatiality, appearing as dematerialised floating, kinetic light forms, freed of the constraints of time, mass and gravity.
Suspension (drawings)
2019 -
graphite on papervariable dimensions
Fullerenes
2019
graphite on paperdim: 190 x 110 cm
Handkerchief
2019
3D print, plywooddim: 70 x 100 cm
Handkerchief (series of drawings)
2019
graphite, pastel and acryl on paperdim: 70 x 100 cm each/ 6 drawings
Likeness (by: Urs Bold)
2019
neon light, plexi glassdim: 180 x 40 x 10 cm
Orcinus Orca
2019
video 6,'08Album: Algida Bellezza, Netherworld (Glacial Movements)
Video: Uršula Berlot & Sunčana Kuljiš
Music: Netherworld (Alessandro Tedeschi)
Nets
2019
Nets is a series of works created on the basis of scientific visualisations - microscopic images, diagrams - of various network microstructures (neural networks, fullerene networks, etc.).
Polymorphics
2018
Four wall reliefs are based on the same microscopic image of carbon substance, which is being transformed by the use of special computer programs used in microscopy. The proceeding of image projection in the realm of inverse (multidimensional space) and filtered back into two or three dimensional form by filters’ data extraction produces four variations of the same. Such alteration of the same motif expresses the idea that the polymorphic nature (variabilty) of the visibile is produced only by subjective perception filters that are altering rather invisible same complex reality.
Cast to the Bottom
2017
Album: Scanner, The Great CraterVideo: Uršula Berlot & Sunčana Kuljiš Gaillot
Music: Robin Rimbaud - Scanner
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.
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.
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.
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.
Observatory: carbon nanotubes
2016
sound-kinetic dioramaexterior: 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: magnetic fluid
2014-2016
sound-kinetic dioramaexterior: 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.
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.
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.
Luminescence
2012
light-kinetic installation; turntable, silver plating plexiglass dim. 70 x 90 cm, light reflections variable dimensions sound: Scanner - Robin Rimbaud
Bodyscope
2012
video projection (2,50'), print on aluminumdim: 150 x 200 cm
sound: Scanner - Robin Rimbaud
Fibertract Kaleidoscope
2012
video projection, print on plexiglassdim: 100 x 138 cm (x 2)
Anatomical Transfigurations
2012
X-ray films, four-part seriesdim: 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 – 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.
Self-portrait – Camera Oralis
2012
digital print on plexiglassVariable 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
2012
mirror - glass (dim: 120 x 80 cm), light projection and reflectionThe 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 & 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 RimbaudSpiral 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 RimbaudThe 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
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.
Light Crystalloid
2008
LED diodes, plexi-glass, aluminum framedim: 80 x 250 cm
Luminous
2008
plexiglass, reflective foil, resin, light reflectionvariable dimensions
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
2007
plexiglass, reflective foil, resin, light reflectionvariable dimensions
Lumina
2007
plexiglass (200 x 140 cm), resin, light reflection, light projectionvariable dimensions
Cross-sections
2007
plexiglass, aluminium plate (100 x 150 cm), resin, light reflection, light projectionvariable dimensions
Reflective Transitoriness
2006
kinetic light installationreflective 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)
2006
kinetic light installationbended 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
2006
digital video projectionvariable 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
2006
reflective foil, plexiglassdim: 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
2006
video loop, magnetic resonance imagingsound: 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
2006
site-specific installation (La Cittadele, Saint-Tropez)plexiglass (150 x 200 cm), resin, light projection, sand
Micronature
2005
mixed techniques on tracing paperdim: 30 x 40 cm (4), 50 x 60 cm (2)
Attractions
2005 / 2010
video 2'sound: Scanner-Robin Rimbaud
Principle of Attraction
2005
kinetic-sound installation; plastic object, rotating magnets and metal particlesdim: diameter 70 cm
Attractions – Similarities
2005
four kinetic objects with magnets and metal particlesdim: diameter 12 cm
Traces
2005
synthetic color on acrylic supportdim: 20 x 20 cm (15 pieces)
Crystal Shade
2003
plexiglass, artificial epoxy resin, mirrordim: 85 x 300 cm
Gradual Passage
2003
plexiglass, artificial resindim: 100 X 180 cm
Vaporscape
2003
plexiglass, artificial resindim: 180 x 100 cm
Dimension of Divergence (v. 1: Aquarama, v. 2.: Smokescape)
2003
video projection, plexiglass, acrylic paintv. 1 dim: 85 x 300 cm, v. 2 dim: 100 x 200 cm
Translucent Membrane
2002
plexiglass, artificial epoxy resin, shadow, reflectiondim: 180 x 100 cm
Translucent Membrane – Micronature
2002
plexiglass, artificial resindim: 100 X 180 cm
Reflection
2002
bend plexiglass, reflected lightDim: 100 x 200 x 60 cm
Incubator
2002
multimedia interactive sound-light installationcollaboration: Tao G. Vrhovec Sambolec
Cerebral Landscapes
2002
graphic color on synthetic supportvariable dimensions
Nature
2001
artificial resin, pigment;dim: 120 x 130 cm
Nature
2001
graphic color on a tracing paperdim: 80x150 cm