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The installation is composed of ceramic tablets suspended in space and arranged as a single, ordered configuration. Each element is produced by pressing a clay tablet by hand and retains the imprint of that action. All components originate from the same procedure and function as material records of repeated contact.
As viewers move through the space, their presence alters the alignment of the suspended ceramics. Movement produces a temporary spatial shift across the whole system, registering bodily passage as a transient disturbance. When movement stops, the elements gradually return to their initial position, re-establishing the original order.
Three video projections are directed onto the suspended ceramics from opposing angles. The projections modulate the light in the room according to a fixed temporal cycle, changing the conditions of visibility without introducing representation or narrative. Light, movement, and material trace operate within the same structure and remain inseparable.
The installation is constituted through repetition, alignment, and return. Individual elements do not function autonomously; the work unfolds as a relational field in which traces appear through movement and dissolve through the system’s own reconfiguration. Time is registered as duration, not as sequence, and the installation remains an open loop of inscription rather than an accumulating archive.
Interactive installation
15 ceramic tablets suspended from a 5×2.6m grid
Each ceramic piece: 24×17.5cm
3 Video projections (in 15 min. loop)
Concordia Gallery (Concordia Film Theater Exhibition), Enschede, Netherlands, 2016
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Interactive installation
15 ceramic tablets suspended from a 5×2.6m grid
Each ceramic piece: 24×17.5cm
3 Video projections (in 15 min. loop)
Concordia Gallery (Concordia Film Theater Exhibition), Enschede, Netherlands, 2016
The installation is composed of ceramic tablets suspended in space and arranged as a single, ordered configuration. Each element is produced by pressing a clay tablet by hand and retains the imprint of that action. All components originate from the same procedure and function as material records of repeated contact.
As viewers move through the space, their presence alters the alignment of the suspended ceramics. Movement produces a temporary spatial shift across the whole system, registering bodily passage as a transient disturbance. When movement stops, the elements gradually return to their initial position, re-establishing the original order.
Three video projections are directed onto the suspended ceramics from opposing angles. The projections modulate the light in the room according to a fixed temporal cycle, changing the conditions of visibility without introducing representation or narrative. Light, movement, and material trace operate within the same structure and remain inseparable.
The installation is constituted through repetition, alignment, and return. Individual elements do not function autonomously; the work unfolds as a relational field in which traces appear through movement and dissolve through the system’s own reconfiguration. Time is registered as duration, not as sequence, and the installation remains an open loop of inscription rather than an accumulating archive.