COLLECTIONS : others/thoughts/images


Olafur Eliason

Thanks to Matt , who sent me this!!

-Documentation of the exhibition Your chance encounter, 2009-10
21st Century Museum of Contemporary Art, Kanazawa
Director of photography: Mads Jørgensen05/2011


On the second floor, with a selection of works from the Whitney’s collection, Uncontained ponders the complete overhaul of notions of space in American art during the second half of the twentieth century, particularly the transformation that occurred in the definition of sculpture. In sculpture, the statue expanded from a self-contained object into a work of art with variable boundaries. Alexander Calder, for example, used motion and forms abstracted from nature, while Naum Gabo penetrated the solidity of the object through openness and transparency. As the possibilities of materials and processes used in art expanded, sculpture developed unprecedented spatial complexities.


For his firstsolo museum show in the United States, Terence Koh is creating a new installation for the Whitney’s Lobby Gallery. In Koh’s immersive, typically monochromatic environments—in which minimalist and baroque aspects of his sensibility vie for dominance—a seemingly unknown ritual is about to take place, where a sense of loss simultaneously suggests regeneration. From drifting powder silencing rooms, and constellations of cryptically linked objects that move from literally disjunctive realms (upstairs/downstairs, inside/outside, dark/light) as well as more conceptual ones, to pristine, perfectly crafted containers that become coffins for shattered glass and mirror, the glitter of black beads, burnt objects, residing within—Koh’s gestures evoke isolation and secrecy, but also protection and ecstasy.


Thanks to Tahira who forwarded me this image ! This is in a installation piece by Abdullah Syed , called The Flying Rug, its beautifully lit allowing the reflections to give its essence of flight , very interesting !


White space, often referred to as negative space, is the untouched portion between objects.
It is an important element of design which enables objects to exist… the balance between positive and the use of negative spaces is essential to composition.


Rachel Whiteread, 2001

Transparent resin cast of the actual plinth, standing upside-down and 14ft high.

Dorment says: “Its beauty is entirely sensuous. When the light shines through the clear resin, it changes colour from cold grey or clear blue, depending on whether the day is overcast or sunny. Because it is as clear as an ice cube, it absorbs all its light and movement from the world around it.”


The Exceptionally talented, with not enough words to describe Yayoi Kusama’s work is of an nature that only can be produced her obsessive thoughts, her hallucinations are channelled through her art and give us the experience of a mind unknown. When I came across her work I was in awe and loved the craziness of it , the use of colour and the use of simple elements over and over again.

Yayoi Kusama, “Infinity Mirror Room—Phalli’s Field (Floor Show)” (1965-98). Sewn
stuffed fabric, board, mirror room without ceiling, 8 x 15 x 15 ft.


Ladytron (runway video)

An excellent example of space being transformed by simple lines keeping our eye busy, so doing two things at once, listening to music but watching the lines move!


The idea of a labrynth in more modern terms has caught my attention as I look through my blog , and construct more real time images of what I present in my research, I come across an artist that has defined some of my random thoughts,

Inside the giant concrete cavity of Cologne´s central „Deutzer Bridge“ Andreas Kopp created an illuminated labyrinth, transforming any linear direction into a senseless motion. Build from foils and neon tubes the transparency of the maze neglects any inherent capability of confusion. Roughly painted stone-like fillings blur the borders between painting and space.
ca. 2500 x 1150 x 370 cm, wood, neon tubes (partly painted), cabels, wall paint on foils, installation view at „Foil / Deutzer Brücke“, Cologne 1997


How are vision works! might be a good place to start !

For most of us, vision is such an everyday occurrence that we seldom think to wonder how we are able to see the objects that surround us. Yet the vision process is a fascinating example of how light (such as the light reflected off of the objects that we see) can produce molecular changes with important consequences (i.e., our ability to perceive an image). The eyes receive the light and contain the molecules that undergo a chemical change upon absorbing light, but it is the brain that actually makes sense of the visual information to create an image. Hence, the visual process requires the intricate coordination of the eyes and the brain. How do these organs work together in order to allow us to see the light-reflecting objects around us as a visual image?

From the Light Source to the Brain: Mapping an Image

The eyes behave similarly, in some respects, to a camera. Light enters the pupil, is focused by the lens, and strikes a light-sensitive detector (called the retina) located along the inner surface of the back of the eye (Figure 1).

Figure 1This is a schematic drawing of the human eye. Light enters the front of the eye through the pupil and is focused by the lens onto the retina. Rod cells on the retina respond to the light and send a message through the optic nerve fiber to the brain.

The light is mapped as an image along the surface of the retina by activating a series of light-sensitive cells known as rods and cones. These photoreceptor cells convert the light into electrical impulses which are transmitted to the brain via nerve fibers. For an image to be recognized, many photoreceptor cells will be activated and the visual information will be transported to the brain via numerous nerve fibers. The brain then determines, according to which nerve fibers carried the electrical impulse, which photoreceptors were activated by the light, and then creates a picture (Figure 2).

Figure 2This figure shows how the brain uses mapping to make sense of visual information from the eye. The green numbers in the figure correspond to the following steps:

1.            Rays of light (blue) reflected off of an image are focused through the lens onto the back of the eye, forming an upside-down image on the retina.

2.            On the retina, those photocells that are hit by light from the image are activated. These photocells are shown in white in this figure. Photocells that do not receive any reflected light are not activated, and are shown in this figure. Thus, we can think of the image as a pixellate map of activated and nonactivated photocells on the retina.

3.            A nerve (gold) from each photocell connects to a particular location in the visual cortex of the brain. The photocells that are activated (white) send a nerve impulse to the brain, while the photocells that are not activated (black) do not send any impulse to the brain. (Only a small sample of the nerves are shown in this figure.)

4.            The brain, when it receives a collection of nerve signals from the eye, interprets where each signal comes from, and reconstructs the pixellate map.

5.            The brain then interprets the pixellate map as an image.


Concept glasses from Louis Vuitton, amazingly resembles a complex building structure, architectural resemblance in a sunglass or even a subway map , intertwining lines connecting into each other.


Trick list… Nike Savvas an installation artist which I could not find much information on , this piece so simple in ingredients but so beautiful in colour. the continuos strands of light that lead our eye to the center and then draws it back to another direction.


LED light tunnel, National Art Gallery (Washington D.C)

Nabana No Sato, Japan Illuminated theme park 5.8 million Led lights


House Extension, dB dubail begert  archtects….  light and architecture combined to create a more invisible side to a home, looking in without actually spying, in a way


interactive bulidings , a very new way to submitting architecture into our more creative parts of life at a young age this school designed by Dooa architects is tapping into the school memories of the younger generation, by creating blackboard walls in the school yard, sure it might create some distress on what might possibly show up on the walls, all in all i think this a fantastic idea for the mixing of architecture, interaction and art all under one roof !!


the D- tower

located in the Netherlands measure moods hate , love, happiness and fear, so from what i understand it measures the feelings felt on average of the day ,, really cool , but the structure itself i find a little alien like personally



Deja vu

since my project has to do with memory and experience , interesting and really kind of spooky is the experience of Deja vu:

Déjà vu (French pronunciation: [deʒa vy] ( listen), meaning “already seen”) is the experience of feeling sure that one has already witnessed or experienced a current situation, even though the exact circumstances of the previous encounter are uncertain and were perhaps imagined. The term was coined by a French psychic researcher, Émile Boirac (1851–1917) in his book L’Avenir des sciences psychiques (“The Future of Psychic Sciences”), which expanded upon an essay he wrote while an undergraduate. The experience of déjà vu is usually accompanied by a compelling sense of familiarity, and also a sense of “eeriness,” “strangeness,” “weirdness,” or what Sigmund Freud calls “the uncanny.” The “previous” experience is most frequently attributed to a dream, although in some cases there is a firm sense that the experience has genuinely happened in the past.[1]

The experience of déjà vu seems to be quite common among adults and children alike. References to the experience of déjà vu are found in literature of the past,[2] indicating it is not a new phenomenon. It has been extremely difficult to evoke the déjà vu experience in laboratory settings, therefore making it a subject of few empirical studies. Certain researchers claim to have found ways to recreate this sensation using hypnosis.[3]


SUPERMOMENT – Paul St George

SUPERMOMENT Is based on observation of rooms after you think that the lights have been turned off. After your eyes have adjusted you will see that all over a typical room a small light emitting diodes and specular reflections from these small lights. These LEDs are in remote controls-,plugs, computers , printers, iPods, speakers, smoke alarms, battery chargers, all these in a room everywhere.  When these lights are recorded and then viewed from a sequence of different angles you can see that from particular viewpoints some constellations of LEDs reveal hidden and accidental drawings.. This reminds me of how we view the shape of the clouds and how they form accidental images !



lines light layers

directional dynamic dimensional


FLUX: Architecture in a Parametric Landscape by CCA Architecture/MEDIAlab is an exhibition that focuses on the emerging field of advanced digital design. In the last two decades of architectural practice, new digital technologies have evolved from being simply representational tools invested in the depiction of existing models of architectural space to becoming significant performative machines that have transformed the ways in which we both conceive and configure space and material. These tools for design, simulation, and fabrication, have enabled the emergence of new digital diagrams and parametric landscapes—often emulating genetic and iterative dynamic evolutionary processes—that are not only radically changing the ways in which we integrate disparate types of information into the design process, but are also significantly altering the methodological strategies that we use for design, fabrication and construction. After the early digital explosion of the 1990’s, new forms of rigor and production have entered into the field of architecture, supporting the emergence of parametric and building information modeling and the enhanced use of computational geometry and scripting that together represent the second critical wave of digital design practices. That our current models of space are far more continuous, variant and complex, is specifically a result of the tools we are using to produce them, an inevitable byproduct of the ever-expanding capacities of digital computation and related fabrication technologies as these intersect with theoretical trajectories that long ago dismantled the social, functional and technological truths of the early part of this century.


Berenice Abbott 1930’s

Amazing how these images are  nearly 80 years apart , and have the same key principal of distorting the view of everyday life..

Slinkachu 2008


To continue my research on space and light  and the transformation on interior space  I have come across and architect that has taken my breath away. Tadao Ando, maybe for architects I might sound foolish and inexperience or be viewed as one who favours the favourite or the famous ,, but  I am not an architect and only a citizen if this world who allows herself to be captivated by the works of others, I picked up an Adao book recently when i was in London, because I liked the size, colour and fabric of the book , not knowing initially what was inside the book , i was attracted by its outside appearance, cliche but we are all victims of attraction by shallow pretenses,,,, I have attached some dynamic samples of his work:



A new inventive team that is up and coming ,, I got a chance to meet one of the guys  (Yiangos ) who is part of the team last week , he happened to be here in Cyprus  visiting his parents  and came by the studio that I work out of ,, so I attached the link to the site so you all can check it out.. Its a very appealing attempt of interactive media in the food industry, conveying the message of arranging your order before entering in this case entering the juice bar , therefore once inside your order will be ready . In this case the use of a digital media that still requires human contact at the end of the transaction is what is interesting, even if your first contact is the screen.


Zigelbaum& Coelho  June 2010

W Hotels Designers of the Future Awards, Designers where ask to create installations that encouraged participation , this installation by Zigelbaum & Coelho is a set of magnetic lights that start off neatly arranged and as people pass through it takes on a different form ,,, very cool ! interactive art !

Directional architecture

This modern home built by a Japanese architect, is simple in the means of structure but directional,, the lines make you follow and lead you into the other spaces , the lines all end or start from or to the window and from the photograph we can see that its the only element of light that exist in this space, directing you to the outside . I have a great interest in spaces whether they are enclosed within greater spaces or free in structure as are public spaces.. Something new to research !


The work of Dan Flavin is what I think could be the closest to what I have had in mind all this time when I conceptually think about my final project. The use of colour and light that also creates interesting architectural spaces that are inclined to be interactive or public spaces.. His work is absolutely amazing and so modern in the lines of shape and colour….


This video is a collaboration of lighting  company UVA  with digital music masters The Chemical Brothers, A theatrical experience that if separated  would not have the ability to have the impact that it does combined

“I have come as Light into the world, so that everyone who believes in Me will not remain in darkness. John 12:46”

Not any sense am I really a religious person, or have I ever really followed the bible and what it says and so on, if anything I probably have had this underlying resentment that the church is so not woman friendly and if anything in the Orthodox Church (where I am baptized) woman are truly treated as second class citizens,,, but besides all the it’s a mans world  is it not so why should this differ that the leaders of countries should not also be the leaders of the our Churhces , and allow us only to hear a mans voice preach the word of god and Jesus Christ . I will look pass all the nonsense , seeing as I am woman and therefore posses the utmost valid gift of all ,reproduction.  I found this quote on the windows of the Salvation Army in London,, and I struck a thought an insight if u want to call it , light is everywhere, ok that is simple to understand …  so do we see God when we see the sun or when we light a candle on the dinner table,  or the lamp post that flickers on and off on a remote dark road in the middle of nowhere or does the guy or girl thats dropped ecstasy in the club and thinks the laser lights are talking to them, or is it  the lightening in our hearts when something comes clear within our minds, or when we eventually see things as they should be ,, its all relative is it not !


Posted above is video interview of John Cage , John Cage who is one of the people  of whom I will base my research from.  A man that defines noise and silence and not giving to much definition to them both , but simply enjoying there existance .

WILDLIFE (interactive moving projections)


Moving the projection outside of the gallery , the interesting effect when something that we r use to seeing in closed spaces all of the sudden appear to interact with the outside world , this almost gives way to the idea of humanizing the digital medium , or for this project the marriage between wildlife with the human domestic life .. This video is a very interesting combination between the digital fabrication of a real life animal and the placing of its digital representation into a real world ( analogue) , the battle of marriage of these two again coincide in a very interesting way , watch and enjoy


Robert Morris BLIND TIME III
I have started to have a real liking and pull towards black and white imagery  in the last little while ,, at first I really did not understand why, as for when I was studying Photography I really could not have cared less for black and white photography, drawings, paintings or movies at that time of my life.
After the painful completion of the Zone system I never shot black and white again ,, I battled with it for my first year of studies and I had meeting after meeting with my darkroom professor and he just planly told me to stop fighting it , you have a love affair with colour , so this only confirmed  that my strong ties with colour where further justified by a superior ,  with this I left black and white behind and now 10 years later , seem to have started to flirt with idea that  another love affair may begin with the one I turned my back on   years ago……….I have started to see black and white as negative and positive space , the delivering of minimal messages and the allowing the picture to be painted by the viewers own colour imagery or best yet not trying to see any colour at all and just the information given as it is ,, the shapes and the game that the negative and positive space may play . or just the simplicity of it all,, making things less complicated…
Robert Morris- MIRRORED CUBES 1971 (re fab of 1965)

I found this image and even though it may seem a little trivial and primary , it reflects on one of the points  of what my project wishes to accomplish , the rebirth of the astonishment , to be amazed again , to relive something we are all familiar with but see it as new light, a parallel universe if u may want to call it ,, something we take for granted on a daily basis , light , light as art, light as a communicative tool …


the  repetition of the single light bulb to form the uncompromising   circular shape , a sequence found within physical  materials,, a cluster , sequence , repetition, art , light ……

.the name TARAXCUM (Arabic, Medieval Latin ), comes from the meaning of any perennial flower  ( dense head , and  feathery  attachment, ie; dandelion)

Time Square, New York, April 2010 – ELECTRONIC VOMIT

So I am here in New York for the Easter holidays, yes I am blessed and very lucky to be able to spend my time here in the Big Apple at least for a week, the weather is magnificent, Central Park is everyone’s back yard and the lights in Time Square mesmorize all the tourist who pull out their 10.2 mega pixel digital cameras capturing a little piece of the gigantic everything in Time Square. Now for the most part its impressive the millions of led lights everywhere, that cost like millions of dollars too are everywhere, huge, massive billboards made up of tiny little dots of leds, but I take a step back and look at it all as a whole and I find it repulsively ugly, its just too much and because its everywhere you look, scattered around with no sequence, no structure of size or co-ordination of timing, Your eye doesn’t rest inorder to appreciate the technology, its like led ‘s on steroids !!!. What could have been a display of visual beauty has turned out to be visual junk!


~ by id09 on October 7, 2009.

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