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It is a very simple idea. I wanted to say something about the isolation, not only of Cubans, but also in a more mystical sense.
I made an effort for the work to create an atmosphere of mystical intimacy and that it is as cool as possible, like a kind of final coldness. Although one can sometimes interpret too much into something, one works in a visual way because it is necessary to speak to the observer emotionally at first in order to then allow him/her the possibility of reflection.
Of course people who enter the room and approach the trumpets think that they will hear something, some kind of sound. There are even people who are afraid and who touch the trumpets carefully at first. But there really is nothing to hear, one senses something like the echo of silence, of the void. It is as if one would hear oneself, one's body.
The lights in the background serve to catch the attention, and they play with the idea that when one dies, there is a light that envelopes one. The tubes are ordered in such a way that they form a text in Sanskrit, however it is deconstructed by other lights. The text, which only very few can read, basically means: the important thing is not the end of the path but rather the path itself.
I was able to adapt my idea to this room which is like a hallway. When I had built the work at first without the trumpet elements and only with the lights in the background, the room seemed very small because the light moved forward. There is a spatial phenomenon that interests me greatly. Even if one sees the room from the back it appears very small, but when someone moves about in it, one has the impression that the room enlarges itself. And that allows for the possibility of playing with the concept of time and connecting the impression of the hallway with the light at the end of the path.
(Translated from the German version by Rebeccah Blum)
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Interview, translation, photos:
Gerhard Haupt & Pat Binder,
Universes in Universe |
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