Bright, vivid colors create striking contrasts, reminiscent of Dan Flavin’s luminous installations, where neon and fluo reign. Light becomes paint, replacing the material once arranged in space. Geometric structures and repetitive lines are found in the laser patterns of the frames. On the earpieces, vortex targets promise to transport us to secret destinations.
There is something theatrical in this concept. Bob Wilson’s stage productions spring to mind, with his collaborations with the composer Philip Glass. There’s also no escaping cybernetic references cultivated by the Daft Punk generation, the Tron era. And then, there’s the multi-dimensional, unfolding in a stroboscopic infinity, to a Kavinsky soundtrack.
Reliefs, bevels, repeated patterns, interrupted, flashes of light… All elements that contribute to constructing and deconstructing space. The telescope becomes an object that becomes a sculpture that becomes an electronic opus.
If Giorgio Moroder were to put a ring on Kraftwerk’s finger in a virtual cathedral illuminated by the rays of a green sun seeping through the pixelated stained glass windows in a remake of Enter The Void in 2035, their children would be FUTURIST.