One Room for a Tree, One for You,
and One for the Thought.
Blåsut, 2014.
Materials: Rainbow-laminated glass, stainless steel sculpture, Himalayan birch, granite, diabase, bronze.
When light strikes the glass in the sculptural spatial constructions, the surfaces are transformed into a bewildering, multi-layered spectrum. The glass panels cast differently colored shadows in blue, yellow, and red, which in turn blend into additional hues. At once, the light both defines and expands the spaces. This optical phenomenon arises from the properties of the thin film placed between the panes, which refracts and reflects the light rays. Our own reflections merge with the surrounding greenery in a rendering of filtered light that is as ingenious as it is evocative.
The two cubic rooms have a simple structure, with stainless steel posts supporting the glass at the corners. One of the rooms has an opening that allows us to enter. The other is closed, and the birch tree standing inside the glass can only be viewed from the outside. In the park there is also a third room, more unfinished in character. Here, a heavy bronze stone rests on a steel beam, brooding over stories of how thought seeks its form.
In his artistic practice, the artist works with color as a concrete material. He lets it flow out of a hole in the wall, or forces its dense mass up between floorboards. Here, however, he employs immaterial light. Yet color remains the most tangible component of the spatial constructions. He investigates the boundaries of color’s spatial presence through works that exist between concentration and dispersion.
Magnus Bons, art writer and critic