Rear Window
Inkjet print on PVC
800 x 2500 x 30 cm, 2015
Commissioned by Banenor
For Oslo Central Station, Norway
Art Consultant Vibeke Christensen/
Kulturbyrået Mesén
Photography by
Vibeke Christensen
Exhibition period
6th February - 1st June 2015 (Extended until middle August 2015!)
![]()
The project «Rear Window» was led by a research question: what does the work of art initiate in its encounter with the viewer?
Inspired by the notes of Merleau-Ponty on phenomenology, “Rear Window” move away from a purely visual or perceptual experience of a work of art toward a more impure, physical and existential relationship between work and viewer. The artwork is not a simple and navigable visual field to the eyes, but gradually appeals to the senses and to the physical presence of the viewer in space. Its isolated and flat colours are also a way to explore, measure and build the space; they invite to a kinetic experience, giving new patterns at each moment of perception.
When walking from the left, the golden foil in the back acts as a mirror of the city and plays a unique role in the art work. A specie of metaphor for both image and the individual's own selves. The mirrored surface change the viewer's traditional position as outsider, and make him/ her aware of his/ her participation and role in the making and meaning of the artwork.
The right side of the piece explore how the body responds to colour and architectural spaces and expresses a move away from the artwork as representation, as an image of something other than itself. Based on simple, geometric shapes drawn after Fibonacci numerical sequence, the composition expresses the walking patterns, the rhythm of footsteps and its progression through space. Thus, it emphasizes “walking through” the art itself and not just “looking at it”.
The project «Rear Window» was led by a research question: what does the work of art initiate in its encounter with the viewer?
Inspired by the notes of Merleau-Ponty on phenomenology, “Rear Window” move away from a purely visual or perceptual experience of a work of art toward a more impure, physical and existential relationship between work and viewer. The artwork is not a simple and navigable visual field to the eyes, but gradually appeals to the senses and to the physical presence of the viewer in space. Its isolated and flat colours are also a way to explore, measure and build the space; they invite to a kinetic experience, giving new patterns at each moment of perception.
When walking from the left, the golden foil in the back acts as a mirror of the city and plays a unique role in the art work. A specie of metaphor for both image and the individual's own selves. The mirrored surface change the viewer's traditional position as outsider, and make him/ her aware of his/ her participation and role in the making and meaning of the artwork.
The right side of the piece explore how the body responds to colour and architectural spaces and expresses a move away from the artwork as representation, as an image of something other than itself. Based on simple, geometric shapes drawn after Fibonacci numerical sequence, the composition expresses the walking patterns, the rhythm of footsteps and its progression through space. Thus, it emphasizes “walking through” the art itself and not just “looking at it”.
Inspired by the notes of Merleau-Ponty on phenomenology, “Rear Window” move away from a purely visual or perceptual experience of a work of art toward a more impure, physical and existential relationship between work and viewer. The artwork is not a simple and navigable visual field to the eyes, but gradually appeals to the senses and to the physical presence of the viewer in space. Its isolated and flat colours are also a way to explore, measure and build the space; they invite to a kinetic experience, giving new patterns at each moment of perception.
When walking from the left, the golden foil in the back acts as a mirror of the city and plays a unique role in the art work. A specie of metaphor for both image and the individual's own selves. The mirrored surface change the viewer's traditional position as outsider, and make him/ her aware of his/ her participation and role in the making and meaning of the artwork.
The right side of the piece explore how the body responds to colour and architectural spaces and expresses a move away from the artwork as representation, as an image of something other than itself. Based on simple, geometric shapes drawn after Fibonacci numerical sequence, the composition expresses the walking patterns, the rhythm of footsteps and its progression through space. Thus, it emphasizes “walking through” the art itself and not just “looking at it”.
The title of the artwork “Rear window” is inspired by Alfred Hitchcock film dated from 1954 with the same name, which explore the role of the viewer in the creative process, when showing that the spectators are not passive recipients, who merely accumulate images of the film, but engage in an important cognitive and affective activity in the course of attempting to understand the story (theory of perception, gestalt).
The piece is composed by 59 stripes facing the façade in a 45 degrees angle.
![]()
Photo by Vibeke Christensen/
Kulturbyrået Mesén
The title of the artwork “Rear window” is inspired by Alfred Hitchcock film dated from 1954 with the same name, which explore the role of the viewer in the creative process, when showing that the spectators are not passive recipients, who merely accumulate images of the film, but engage in an important cognitive and affective activity in the course of attempting to understand the story (theory of perception, gestalt).
The piece is composed by 59 stripes facing the façade in a 45 degrees angle.
Photo by Vibeke Christensen/ Kulturbyrået Mesén
