Installation at Diana Stigter Gallery, 2008

In several of my installations an image of an object is projected onto the object itself, thus adding the dimension of time to the work. The projection places distance between the image and the object it represents. The image’s transgression of the fixed visual and physical properties of the object leads the viewer to reconsider the assumption that a static object is not in constant motion.

For the exhibition Shine at Gallery Diana Stigter, an archetypal cave was constructed from dode-cahedrons: three-dimensional shapes with twelve pentagonal faces. Dodecahedrons are rare in the natural world because they do not fit together well. The cave is a kind of transitional zone between matter and air. The ancient Greeks first conceived the elemental nature of the dodecahedron: it was postulated that this shape, the fifth Platonic solid, composed the element ‘ether’ that made up the heavens. In the 19th century, the French mathemetician Poincaré formulated a higher-dimensional sphere with the dodecahedron as its basis. This shape (the ‘homology sphere’) was recently proven by mathematicians to be the shape of the universe.

The cave evolves through the stretching of space-time, as the dodecahedrons distort toward the right of the cave. According to topological law, these forms have not changed though they appear distorted. Because a replica of the cave is projected onto the original, its two- and three-dimensional versions do not always exactly coincide. The projected light reflects off the glass and breaks into colour. The nervous flickering of the image induces a sense of mirage, a virtual Fata Morgana.