Each of olafur eliasson’s seeing spheres supports a flat, circular mirrored face, framed by a ring of LED lights, which is oriented inward to reflect the mirrored faces of the surrounding spheres. Together they produce a surprising environment of multilayered, reflected spaces in which the same people and settings appear again and again, visible from various unexpected angles. Tunnel-like sets of nested reflections open up in the mirrors, repeating countless times and disappearing into the distance.
LA SOCIETE DE LA PLACE DES SPECTACLES
FILE SAO PAULO 2015
Inspired from the live works of Italian artist Michelangelo Pistoletto (1933-) of meticulously ransacking large mirrors, Sorenson revisited the classical traditions of vanitas under the materiality of video, and generate his creative process from the destruction of consumer components.
I was inspired by how the sunlight bounces around in our artificial forest.
“Squint” is a kinetic light installation consisting of 49 mirrors that reflect lights in a bright space. The mirrors track and reflect lights on audiences’ face with composed patterns of movements. It extends the generated perception by focusing on how lights pass across our visual senses physically, and combines with our perception of images through flickering. “Squint”, which extracts various daily experiences to an abstraction brings the audience to expand their interpretation of lights and perceived imagination into a non-linear experience.
“Squint” simulates light source and intentionally shines lights on audience’s faces. Bright light is projected in the gallery, a clean bright space.
Everyday people are dynamically moving around in the city. Sunlight reflects and flickers even when it is indirect and hidden behind the artifacts. While we are traveling, we are experiencing motion. We are also experiencing the shift of light intensity, visual patterns and textures. The varieties of light forms inspire the artist to explore the potential of light textures, select and sort out the combined complexity in urban space. The artist turns them into a minimal form of light experience, while maximizing its diversity of perception.
Mattia Paco Rizzi + Jessica Bergstein-Collay
‘Taumascopio’ is an art installation designed and realized by parisian architect-artist mattia paco rizzi for the 2014 kanal playground festival in brussels, belgium. the structure is completely covered with mirrors and as a result, offers a complete visual camouflage along the molenbeek’s canal. as its exterior panels fold, the overall massing creates a kaleidoscopic effect that reacts to heat. during the temperature’s evolution throughout the day, the surfaces present an ever-changing reflective effect. ‘the ‘taumascopio’ invites us to reflect in poetic vein on public space, like a box of delights that gives us multiple visions and allows us to see the city differently,’ says rizzi. ‘the mosaic of reflections sends our thoughts in new directions and invite us to create new ideas.’
FILE SAO PAULO 2015
Inspired from the live works of Italian artist Michelangelo Pistoletto (1933-) of meticulously ransacking large mirrors, Sorenson revisited the classical traditions of vanitas under new materials together with one of the more celebrated exploits of Arte Povera.
NYC-based artist Sarah Oppenheimer‘s work blurs the line between sculpture and architecture. Her amazing installations usually involve moving walls, slanting floors, and creating apertures—sometimes symmetric, sometimes asymmetric, and often with mirrors—that would mesmerize (and confuse) the most resistant of gallery/museum guests.
At around 12 feet in diameter, each one is big enough to swim through, for divers and fish alike. Aitken sculpted the pavilions from mirrors and artificial rock, and collaborated with a range of specialists to submerge them in the local dive park and moor them to the ocean floor. But building and installing these structures wasn’t easy. Aitken wants his exhibit to raise awareness about the declining health of the oceans.
“The three basic themes of Orphée are:1-The successive deaths through which a poet must pass before he becomes, in that admirable line from Mallarmé, tel qu’en lui-même enfin l’éternité le change—changed into himself at last by eternity.2-The theme of immortality: the person who represents Orphée’s Death sacrifices herself and abolishes herself to make the poet immortal.3-Mirrors: we watch ourselves grow old in mirrors. They bring us closer to death.