Frame of Reference
2006. Ten objects. Silkscreen on acrylic glass, steel stands. Frame 1, 5, 6, 7, 8, 9, 10: 50 x 50 x 50 cm. Frame 2: 50 x 45 x 50 cm, Frame 3: 80 x 50 x 100, Frame 4: 74 x 74 x 43 cm.
The orthogonal grid we habitually project onto our surroundings creates our frame of reference that largely defines the ways in which we can navigate a particular ambiance. It forms the a priori background within which we perceive spaces and measure our position, motion and orientation. Frame of Reference is an exploration of the principle of perceptual ambiguities caused by contextual modulation. When our frame of reference is distorted or lost, our attention becomes multi-stable, shifting in search for meaningful interpretation.
Frame of Reference 1 is a cube divided by regular orthographic grid. It is our default perceptual framework. Frame of Reference 2 - 4 are distorted cubes - irregular polyhedra, designed after two-dimensional representations of the cube. Respectively, axonometric, isometric and perspective projections of the cube are literally translated into these three-dimensional objects, with all the geometric distortions preserved. The grids within the objects follow these distortions. Frame of Reference 5, 6, and 7 are objects with different poyhedra imbedded within the cube: stellated octahedron, cuboctahedron constructed by intersecting hexagonal planes, and cube divided by intersecting diagonal planes. Basic orthogonal grid is printed on each cube, and superimposed on diagonal trajectories of faces of polyhedral. Frame 8, 9 and 10 are cubes with internal divisions that work with concepts of expanded dimensions. Frame 8 and 9 are projections of higher dimensional polyhedra onto the cube - a hypercube and cube pyramid. Frame 10 consists only of orthogonal grid- based spatial constellation of dots suggesting infinity.
Photos Goran Vranic