REFRACTION, REFLECTION & MOVEMENT
Viewers observe a glass sculpture that floats in the room, slowly rotating around itself. The observers are tracked using Kinect V2. Their head position is aligned with that of the camera in virtual space (optionally a stereoscopic camera), which live-transmits its image onto a projection surface. The field of view of the digital camera is limited to a frame in virtual space, corresponding to a 5m x 2.8m large window front, creating an illusion of spatiality since the image's perspective always aligns with the viewer’s direction of gaze.
Viewers observe a glass sculpture that floats in the room, slowly rotating around itself. The observers are tracked using Kinect V2. Their head position is aligned with that of the camera in virtual space (optionally a stereoscopic camera), which live-transmits its image onto a projection surface. The field of view of the digital camera is limited to a frame in virtual space, corresponding to a 5m x 2.8m large window front, creating an illusion of spatiality since the image's perspective always aligns with the viewer’s direction of gaze.
Furthermore, the sculpture's refraction and reflection change with movement. The Kinect V2's image is also used to capture ambient light at the exhibition site, reflecting it on the sculpture. This process makes visible the observer's own distorted reflection, as well as passing cars and trains. Optionally, this experience can also be rendered in 3D.
IN PASSING I-III
The series captures fleeting glances in motion.
In "In Passing I," the movement is on foot, compressed and animated within the captivating landscape of Death Valley, near Zabriskie Point.
"In Passing II" emerged from observations made while cycling. After dwelling on this perspective for a while, I was motivated to encapsulate it. I continued with the stop-motion animation technique and developed a method to correct perspective so that each image, regardless of the angle of capture, appears as a frontal view. This method keeps the architecture static, with movement only visible in the reflections.
Our eyes move in two ways: jumping abruptly from point to point or gliding smoothly when following movement. The interplay of these movements, which I found fascinating since childhood, especially during train journeys, is the core of "In Passing III." This project was realized during a morning train ride 80 kilometers north of Belgrade, where all elements harmoniously converged.
