Interface No.1, 2012
Interface No.1 takes the form of a cube whose sides are formed by parallel struts set at right angles to one another based on a grid composed of 8 x 8 fields. The struts produce a diagonal segmentation of each side. Hollow spaces between the struts allow views inside the cube. The diagonal sequence of the struts in relation to one another is staggered to one side. Nevertheless, the corners of the diagonal sequence of steps are coordinated exactly with the diagonal of the square surface of each side. The same configuration of struts, therefore, can be applied in 8 different positions to each of the six sides of the cube (262.144 possibilities).
Interface No.1 can be displayed either indoors or outdoors. The work is not site-specific – at least not if one understands this to mean that it can be displayed at one specific location only. It is conceptual on a general level. Two different ways of thinking of the cube are juxtaposed spatially in the corners lying diagonally across from one another. In each corner, three sides of the cube converge. In one corner, the two square fields contained within each side of the cube are oriented in relation to the three spatial axes of the cube in such a way that the configuration of struts seems to be rotated and folded like a windmill around the space of the corner. In the corner which lies diagonally across from it, by contrast, the two square fields of the pair of sides are oriented parallel to one another along the edge shared by the two sides. Interface No. 1 has side lengths of 140 cm. This choice is arbitrary, but not unfounded. It was important to me that the work open up a different spatial reference than a piece of furniture. A height of 140 cm is unusual for a table, a set of shelves, a seating element, or a cabinet. Nor is it a dimension that is evocative of doors, windows, or walls. It does not compete with architecture. Nor is it anthropomorphically charged (a paradigmatic instance of the latter is Tony Smith’s steel cube Die of 1962, with a height of 180 cm). An average adult is able to view the top of the cube. Through this indifference to familiar proportional relationships (furniture; architecture; human figures), the work opens up its own relation to space. It renders space palpable as material. Its conception can be traced back to my preoccupation as an artist over a period of years with the architecture of Rudolph Schindler.
Materials: aluminum square profile, white powder coating
Dimensions: Cube 140 x 140cm, aluminum square profile: 4 x 4cm