It would be many cubes (65 cm3) hanged on the wall while doing a rotation (the number of cubes varies with the size of the room presentation) and within each cube there is fragments of mirror glued on all four isomorphic sides and for the two remaining sides, the top include a light tape and the other side include a
window square which allows the spectator (the user) to enter his head inside the work.
Fig1: collage showing inside the cube with the hear access and mirror pieces
simulation in 3ds max inside the work in rotation
-Materials entering into the composition of this work are:
-Plexiglas for the realization of the cube. -Mirrors (see waste stores specializing in mirrors) -light-tapes -ceiling fan motor -luminescent paint -Radio remote control
Presentation of the work
It might be necessary for the presentation of the work to consider an open space (without pole) and can accommodate at least four cubes with the following disposition
The two diagrams above show the minimum distance that should be considered between the cubes, so that they do not intersect during the rotation
Background of the project
It seems to me that we are witnessing an important turning period, a decline of the material into the immaterial, a quest of superfluous where the artifices leave the place for essentials and the object comes towards its abolition.
In this project, I’m leaning towards the spatial and architectural aspect, elements that best define the structure of today’s world, a world that abstraction seems to influence everything that belongs, a daily invaded by technology, tends to shortcuts, to the virtual, a pure withering of the material which its heavy opacity and its presence gave way to its elucidation.
Approach the space, is a goal for me to achieve better abstraction in its practical aspect, i.e. the reduction of the space were presenting in a cube, and within this cube the interpretation and the lecture itself is reduce to fragments of mirror.
The viewer is located in a reduced space, and loses all his usual habits associated with the reading of an artwork, and even this reading is reduced to personal projections, the viewer sees himself distorted, once connected to the work, he becomes the center, he reads himself in the work, he controls the rotation he is in direct resonance which is a concrete interactivity.
As knowing that space acts in the human being who, in turn, acts on the spatial factors that determine him, the individual starts to have an interactive relationship with the environment, the viewer makes his head inside the cube that rotates, and inside he sees the refraction of his face on fragments of mirror
continues to decompose, and at the end of this experience, the viewer will find himself “confused” if not lost.
That way, the relationship between the individual and the space becomes more than functional; it takes other dimensions of emotional, symbolic or even imaginary, a dimension materialized here by the effect of cusp and refraction face.
And then other question is asked, about the lived space, the cube here is hanged on the wall, it is an entity a perceived space; as we know that the perception by definition is at first a subject of a lived experience and lived space is the space seen; this installation shows the ambiguities that may caused a theoretical relationship to space.
I.e. the perception of the object here is not complete until the user is inside; only one part of the body enters this space left the other parties disoriented. So here the thing seen does not realize completely without a practical and interactive contact with the person who sees it.
So my work forge a agitator link with the viewer, the individual in this experiment, faces two conflicting sensations occur inside and outside of a surround, and it should be noted here that the Inside the room where the cube is installed is the outside of the same cube and vice versa.
That said, this installation reinserts different reading levels of space into a shortcut which is the experimentation, the sensations in my practice ignores any language weakness and takes us back to the depths of things, the reduction of architecture to its simple and initial geometry (the cube), reducing projections of the individual within its surrounding context refraction, the essence of things give way to any outdoor artifices and not forgetting the “playful” aspect of this work, the public becomes users and what is predicted after finishing his experience could be extreme reactions.
Fig8 collage showing the utilization of the cube
The cube’s rotation
To rotate the cube will be through a small engine its schema and its installation will be explained in the next chapter. The cube in this way will be connected to a motor, and to a control lever, so once the viewer will be inside the cube, He may himself activate the start and end of rotation. For rotation was chosen an existing mechanism on the market: ceiling fan (see Figure 8)
The purpose of this choice is to find equipment that will guarantee the rotation of the cube and the frequency that has to be between 0.5 to 4 Hz (theta waves: deep sleep without dreams). the engine can be placed by the disco ball motor.
The electrical installation shall be carried out according to the following: