It is as if a bear were sleeping and people had built their houses on its fur. Incessantly, the house models – finds of the former model building boom from East and West Germany – rise and fall, office buildings, factories, churches, refineries, leading their contemplative and unstable lives of their own in quiet harmony on two floors.
Voodoo Style I is a rhythmic movement rite for three avatars of my dancing body. The design of the proxy bodies is made of recycled plastic, glued airtight. Three fans in on/off use determine the body shapes of the dancers as well as the rhythm of their bending and folding choreography. The fat ones inflate, they straighten their backs. The skinny ones run out of air, they fall back into the second dimension.
The theater seating stands on the stage. Or vice versa: The stage floats above the audience. While the – mechanical – concert begins, the chairs dance, folding open and closed, as if the audience would jump enthusiastically or annoyed from their seats.
Two crocodiles meet for coffee. The best dishes are brought out. The coffee table is hyperactive and begins its hydraulic life of its own. This doesn’t seem to bother the crocodiles, they are engrossed in conversation. Their constant nodding of heads is a sign of affection. The coffee service finds its order in the chaos on the unstable tabletop.
A tulip takes 6 days from bud to full bloom. I have shortened this natural process, to 42 seconds, and developed a kinetic time-lapse model for it. This model allows to experience the blossoming of a plant, in a time jump. Its petals reach out into space. They breathe, they seem latently threatening.
My safari installation shows stylized movements of exotic animals whose existence I only know from the youtube animal movie channel. My animals are made of used shopping bags. Radial fans breathe life into them, so that they show their animalistic threatening gestures in repetitive motion sequences – and collapse exhausted when the air is sucked out.
Voodoo Style II is a rhythmic movement rite for five avatars of my dancing body. The design of the proxy bodies is made of recycled plastic, glued airtight. Five fans in on/off use determine the body shapes of the dancers as well as the rhythm of their bending and folding choreography. The fat ones inflate, they straighten their backs. The skinny ones run out of air, they fall back into the second dimension.
If one observes the glassblowers at their work at the melting furnaces, the concentrated workflow is reminiscent of the clear agreements of a choreography. In 73 Trace Elements, a fleeting movement has manifested itself into a floor sculpture: The dynamics of the dance steps gliding across the floor are captured in solidified glass steps.
The Hubble Telescope orbits the Earth at a distance of 600 km, sending unimaginable images from the depths of the cosmos. It is the largest space telescope to date. It draws its power from a rotating solar ring coated with silicon dust. Here you can see one of the eight ring segments. It rotates at 90° to the sun.