The present exhibition is worthy of interest due to the fact that there is a double safety glass –the display-window of the gallery- in between the two planes. As a result, an internal state of the transformation can be seen on this glass surface: the projected pixels are quadrupled, resulting in the SON sign being visible above the FATHER sign as well, but upside down. To make the light streams visible, we used smoke machines indoors, and a smoke bomb called smoketube outside. The smell of the latter is quite a borderline case :)
The purpose of the event was to document the project for a scholarship, in the presencce of a few friends and some guests, including artists Emese Benczúr and Balázs Beöthy, who even wrote a recommendation for the project. The signs were already in Hungarian. During refitting, the laser stands got a complete nickel-plating in and out, in order to finally become rustproof.
The test was carried out as part of the debut of the artists (Lőrinc Lilla, Kovács Alida, .page.) who were working at the art colony. The reception was very positive, the audience liked it very much.
The first tryout-presentation took place on the last day of the workshop organized by Balázs Kovács (XRC). The signs were still in English, and the fact that I could only secure the structure with wires, and that we could not project on a flat surface made things more difficult. All in all, it was hard to put the project together, but the result was very good; it worked. Moreover, I have had the luck to meet Balázs Beöthy, who drew my attention to the Joseph Kossuth approach, the idea of which is that a piece of art should always be exhibited in the language of its media.
In my current work I examine Trinity, with the problem of transformation in the focal point, which is the key to the sematic representation of the three divine figures, who can be defined individually, but who, at the same time create one unity together. I planned to make a light-installation right from the start. Unlike the traditional and religious painting methods, my aim was to create a fresh, impersonal representation, which does not focus on the external appearance of these divine figures, but on their relations to each other. After several years of fruitless attempts I finally came across a directly geometrical transformation method, where the transformation takes place with the connection of the holes of the two –equally holed, but different signed- plates with straight lines. This principle led me to express myself with this laser-based sign-matrix, where the SON is the projected image of the FATHER, and the medium of this transformation is the red laser beam, in this context, the HOLY GHOST itself.
I place -with the help of flexible throttle pipes- laser modules into an aluminium plate full of holes in a way that the dots read FATHER from a distance. Following the installation of the completed structure on the wall I set the direction of the laser beams one by one so the word SON becomes visible on the opposite wall. If it is possible, I use a smoke machine to make the laser beams visible.
This work in its current form allows for indoor use only, in complete darkness the range of the laser beams is up to 100m. It can be fitted into all kinds of spaces, from galleries, museums to the large halls of warehouses, since it transforms and fills them completely. The matrix base makes it possible to translate the whole project into different kinds of languages; until now it has been built in english, latin and hungarian.