The idea of Sculpture 1 - Sediment developed under the impression of old temple reliefs from Thailand and Cambodia.The depicted divinities, dancers, fabulous creatures and historical figures have strongly occupied and moved me. It was therefore very obvious to me to show a relief of life-sized figures on the drawn-out screen of a panorama.
In the work KŔ I used virtual lighting for the first time. In one scene I project a stone surface onto the stage. The stage is moving and the stone is lit following a virtual light source. Now, almost ten years later, I chose an opposing approach. The observer carries a torch with virtual light. The movements of the torch submerge a virtual relief of stone figures in light and shadow. The physical nature of the figures can be experienced by the movement of the light.
I have tried to work with the things one does not see. The observer decides where the confined torch light shines and what remains in darkness. On the one hand the torch only lights a small portion of the figures and their relationships towards each other. One can never see the whole picture. On the other hand the light of the torch reveals where the observer glances. The observer cannot look privately upon an object anymore. Other people in the room see what the light illuminates and which path it takes. By the things that are omitted, one can see what shall remain hidden.
The poses of the figures came into being during two separate sessions with a male and a female nude model. Both were captured by a 3D-camera in various momentary snapshots. Most postures emerged from cooperative improvisation upon feelings and actions that were sketched in writing beforehand and by the anticipation of a partner or counterpart who wasn't there yet at that point of time. Only the following collage of the sculptural snapshots established the final relationship between and among the figures.
The creation of the collage itself was more of an intuitive investigation into possible interactions between the figures and their surroundings than the realization of a specific concept. Animals and mythical creatures of the projection are owed to magical thinking. I did not revolve around the depiction of religious content but rather the possibility of a metamorphosis of the body. The animal recordings were taken in the State Museum of Natural History Karlsruhe. The stone in the background is created synthetically by fractal noise. Elevations and indentations were incorporated in the stone wall to support the figures or give them more room.
The work received its name very late. The term sediment primarily denotes a certain type of rock that is created by erosion and subsequent compression. Here the term also stands for fragmentary unconscious pictures that accumulate and consolidate in the subconscious over the years, for the composition of an overall picture from fragmented pieces.