Principles of Motion
For Principles of Motion, UVA uses a rotating LED disc to create an abstract rotating and shifting kinematic landscape that plays with the viewer’s perception of movement and reflects the phenomenon of persistence of vision (sparkler’s trail effect / pov display). By varying the luminosity of the LED, the kinetic landscape moves and gives the viewer a sense of space and time. While observing the abstract rotating patterns and rhythms, the optic nerve of the recipient replicates the effect of an afterimage on the eye.

S1 Pendant Light
S1 is an interactive pendant light. Its brightness and height are adjusted according to human presence. Units can be combined to generate dynamic patterns.

Souvenir
Being self-lighted, at the same time that it rotates on its own axis, the object distorts that which it apparently seeks to represent. Therefore, the presence of an inner light, associated with the rapid movement produced by the globe’s motorization, is responsible for abstracting any border line. By fostering the internal luminosity of a planet, which is pure darkness, the work relegates the value of representation to a second level and gives rise to a set of ideas disconnected from the real. In this sense, Souvenir is a means of reconsidering in what way the demarcations that define the geopolitical scenario of this tiny globe are lost in the Earth’s infinite rotativity.

Rigged
A hybrid of consumer associations, ranging from the glossy iconography of the TV commercial and the sterility of video game graphics to the luminosity of the department store poster and the smell of freshly opened cosmetics, create a subconscious lure. Her use of CGI technology in her artistic practice surpasses a simple study of digital textures (think nostalgic glitch-making) to occupy a full-fleshed, hyperreal space, usually reserved to corporate giants in advertising or entertainment.

مارينا ابراموفيتش
玛丽娜·阿布拉莫维奇
מרינה אברמוביץ’
マリーナ·アブラモヴィッチ
МАРИНА АБРАМОВИЧ
Luminosity
Marina Abramowić prezentowała pracę „Luminosity” z 1997 roku, która idealnie spełnia wymogi żywej rzeźby. Naga kobieta zawieszona jest z szeroko rozłożonymi rękoma na środku białej ściany, przywołując konotacje z pozycją ukrzyżowania. Na jej unieruchomione ciało pada bardzo ostre światło ze skierowanej prosto na nią lampy. Kobieta podtrzymywana jest przez rowerowe siodełko oraz podpórki pod stopy.