Spomenik (2017)
In DCT:SYPHONING, the Angel of History watches over 2 DCT Blocks, navigating the different ecologies of compression complexities. When they enter higher complexities, the environment around them seems to collapse into a cairn of broken vectors, reminiscent of a Spomenik.
In Refractions
(in light and time),
the Spomenik, or cairn of broken vectors renders into a Pen/Rose Stairs to Nowhere when caibrated with the help of a CyCLOPS corner reflector network.
Centrepiece of my Behind White Shadows solo show
(Transfer Gallery NYC, 2017)
The Spomenik is a 3x4 meters large format sculpture, made out of triplex wood, painted white featuring projection mapped videos. The scultpure also hides a little cave in the back where visitors can play VR in peace.
A broken render, or monument of broken vectors for resolutions that will never be.
The Spomenik is inspired by the Spomeniks from the Balkan; brutalist monumental architecture, historically commemorating “many different things to many people”. The shape is inspired by Spomeniks such as Tjentiste and Ostra, but does not directly copy their shape but uses these structures as a reference.
This Spomenik is dedicated to resolutions that are impossible, such as ‘screen objects’ (shards) and the not (yet) implemented possibilities non quadrilateral screens have to offer.
This installed shard is three meter high, hiding a VR installation behind, running DCT:SYPHONING. The VR is accessible from the back of the Spomenik. The projection on the Spomenik is partially a mapped live stream from the VR.
The Spomenik also features textures of the Ecology of compression complexities, of which the map was layed out in front.
(Transfer Gallery NYC, 2017)
The Spomenik is a 3x4 meters large format sculpture, made out of triplex wood, painted white featuring projection mapped videos. The scultpure also hides a little cave in the back where visitors can play VR in peace.
A broken render, or monument of broken vectors for resolutions that will never be.
The Spomenik is inspired by the Spomeniks from the Balkan; brutalist monumental architecture, historically commemorating “many different things to many people”. The shape is inspired by Spomeniks such as Tjentiste and Ostra, but does not directly copy their shape but uses these structures as a reference.
This Spomenik is dedicated to resolutions that are impossible, such as ‘screen objects’ (shards) and the not (yet) implemented possibilities non quadrilateral screens have to offer.
This installed shard is three meter high, hiding a VR installation behind, running DCT:SYPHONING. The VR is accessible from the back of the Spomenik. The projection on the Spomenik is partially a mapped live stream from the VR.
The Spomenik also features textures of the Ecology of compression complexities, of which the map was layed out in front.
