Two projectors throw light from the ceiling onto a hemispherical mirror in the center of a darkened white room. The light gets reflected all over the room by the mirror and sketches moving fingers of plants onto walls and ceiling. The sound of an eerie exterior scenery fills the room, mixed with far away noises. The moving shadows of the visitors create interactive wind that runs through the plants.
The work Shelter plays with the idea of a refuge from a diffuse outside danger and the question if this shelter provides real or enough safety.
With this installation, I try to create an imaginary space that one can retreat to, a place to feel safe, a shelter that protects from the outside world. I depict this safe place as a small clearing in the forest, protected by plants proliferating around the observer. It’s a very instinctive image that some of us might know from childhood.
The undergrowth forms a protective zone, but at the same time can make it difficult to escape further. As long as one remains in the thicket, the escape is inhibited, a possible fight averted for the time being. In addition to flight and fight, a third way of dealing with a possible threat is to behave calmly, to endure, to play dead. So the work is also about an inner space of fear that can follow everywhere and that adapts to reality.
No matter how dense the plants may be, they would not dampen sound sufficiently. Visually, the porous curtain of plants does not provide complete protection as well. On the one hand, the fugitive can hear the surroundings from the hiding place, on the other hand, noises that arise in the hiding place can still be perceived from the outside. So the inevitable rustling, creaking and cracking of the plants during movements in the shelter are just as audible as all threatening ambient sounds of the environment, be it humans, animals or machines outside the shelter. So it remains uncertain if the artificial hideout is safe after all.