Four modules are arranged into a square presenting a regular grid of 4x4x4 = 64 white, squared tiles. Each tile can be activated by a linear motor retracting it 10cm from the installation’s vertical plane. The individual control of the tiles’ motion creates three-dimensional reliefs based on simple geometric patterns. These patterns appear at irregular moments and shortly after decompose, following a random logic. The programming of the motion nevertheless follows the principle of a composition's use of variables to establish a balance between ordered and disordered configurations. The formation of patterns underlines the geometric design whereas random arrangements privilege the mixing of colours. The conception of the tiles’ motion, the programme, therefore presents a dialogue between both.
The tiles are illuminated by three light projectors in red, green and blue colour. The white illumination of the tiles, resulting from the mixing of the three primary colours, is decomposed by the tiles’ motion in coloured shadows displaying the primary and secondary colours of light. These coloured shadows appear and disappear following the back and forth motion of the tiles. This implementation assigns the visible spectrum of light to the position (space) and motion (time) of the tiles and consequently unifies colour and motion through the phenomenon of light.
The installation’s elementary visual and architectural vocabulary forms a neo-plasticist work using the additive principles of light, instead of the subtractive one of paint. This positions the installation in the tradition of Art Concret, whereas its programmed logic reveals new qualities of light. Through algorithmic logic and the composition, the installation reconciles simplicity with serendipity, geometric order with randomness.
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