Particle Observations I

If the smallest particles mirror the universe, does the smallest particle of memory do the same?
On my work with projections

Mapping and recomposing…The Recoding of space

I start with the assumption that the universe looks at the earth, just as we look at the universe. It sees innumerable particles scurrying about, shining, and then extinguished; like stars. If everything reflects everything, mirrors then depicts, what does it mean for a work of art? Where do images come from? In early times seafarers have associated images with the chaotic arrangement of the stars, to create maps for orientation for far away coastal lines. They connected points in the sky with imaginary lines and transferred them as drawings onto paper. They created their first maps to find their way back to distant places.

While the sailors made order of this chaos in the universe, I too connect the points in our surroundings.

In my work I would like to encourage the connection between us and the space around us, suggesting further dimensions within our immediate universe. In previous works I portrayed these concepts visually using multilayered manual templates combining both the order and the chaotic elements of a place as a space model in an overhead projection. I transferred and represented the points of this mapping proportionally, using sheets of aluminum foil which I perforated, creating abstract geometric figures and a mapping of my surroundings according to my own thematic standards. In some installations I placed ink and particles from the space around me such as dust, hair, fluids, etc. onto transparencies, processed and altered the surface of the sheets, then projected them back into the space. In doing so I extract two different kinds of individual ‘pixels’ from one area, layering them and in the process creating new forms.

Some of these pixels are of material nature. Others are integral parts of a site viewed from such a great distance that they merely represent points - buildings, roads, plants. They become an ephemeral sculpture space in the projection.

Finally the viewer becomes the fourth dimension; thru their gaze completing the work, projecting their own thoughts and ideas onto the space.

I am interested in the transformation of spaces through flexible and fixed-space models. Playing with many possibilities, I construct, mirror, double, move, perforate and connect the ephemeral with the static; the recoding of a room.

I would like to find out through this kind of spatial projection installation how different locations create their own specific shapes and structures. Its not about the translation of space into image and image into object, but about the creative occupation of the different dimensions of a room, the switching between air - light - matter, between the visible and the invisible, between the past and the now.

The use of analogue technology, in the form of overhead-projectors, allows me to play with the dimensions of a room, variations in size and at the same time, to give the space an object-like character, to incorporate movement, to add light, to use manual templates. The role of the projector each time is considered anew, depending on the conditions and possibilities of the place.

Scientists establish theses, which they then seek to prove with all their might, for example, first inventing new particles and then proving their actual existence thru years and years of experiments conducted in gigantic projects such as CERN in Switzerland. Quite some time ago Pythagoras stated that planets produce music because huge objects make sound when they move. And from the time I began studying music, I became fascinated by Kepler’s idea that the planetary motions are determined by ratios corresponding to those of musical harmony. Unlike scientists and philosophers before him, Kepler did not focus on concepts about the distances of the planets to the sun, but rather on the ratio between their minimum and maximum angular velocity. In the end his aim was to show that the laws of astronomy, in principle, can be the same as those of music. He continued to work in the belief that the proportions of the Universe itself are deeply and intrinsically related to harmony and that this harmony is mirrored everywhere in creation.

What astronomers had discovered earlier was reflected in the architectural design and construction of Gothic cathedrals. In turn Bach himself composed some of his musical harmonies based on the same principles of universal proportion.

The contemporary physicist Brian Greene completes the circle when he says: ” With the discovery of superstring theory, these musical metaphors win a startling reality. ” He compares the theory adopted by the vibrating ” strings ” because of their oscillation pattern with strings of musical instruments, and thinks that the cosmos is regarded from this point of ” nothing but music.”

And so I am brought back in the end to my starting question: If the smallest particles mirror the universe, does the smallest particle of memory do the same?

And if so, what then are we really talking about when we speak about perspective?