Reflecting Object
Jeppe Hein
Jeppe Hein
Reflecting Object, 2006
Copper-plated metal ball, motor
50 x 50 x 50 cm
Thyssen-Bornemisza Art Contemporary Collection
Installation view: Pasajes. Viajes por el híper-espacio. La Colección Thyssen-Bornemisza Art Contemporary, LABoral Centro de Arte y Creación Industrial, Gijón, Spain, 2010
Photo: Marcos Morilla | LABoral Centro de Arte y Creación Industrial
Jeppe Hein
Reflecting Object, 2006
Copper-plated metal ball, motor
50 x 50 x 50 cm
Thyssen-Bornemisza Art Contemporary Collection
Installation view: Pasajes. Viajes por el híper-espacio. La Colección Thyssen-Bornemisza Art Contemporary, LABoral Centro de Arte y Creación Industrial, Gijón, Spain, 2010
Photo: Marcos Morilla | LABoral Centro de Arte y Creación Industrial
Jeppe Hein
Reflecting Object, 2006
Copper-plated metal ball, motor
50 x 50 x 50 cm
Thyssen-Bornemisza Art Contemporary Collection
Photo: Courtesy the artist | Galleri Nicolai Wallner, Copenhagen
- Date
- 2006
- Medium
- Copper-plated metal ball, motor
- Dimension
- 50 x 50 x 50 cm
- Credit
TBA21 Thyssen-Bornemisza Art Contemporary Collection
- This artwork is part of the donation and long-term loan from TBA21 to the Museo Nacional Thyssen-Bornemisza.
Details
Combining sculpture and installation with architecture and technology, Jeppe Hein shows the modularity of space by constructing and deconstructing it. Interactive in the truest sense of the word, Hein’s work sets up a dialogue between work, viewer and site, and involves the physical presence of the viewer against a pattern of minimal forms.
Perfectly cloaked, Reflecting Object sends the eye in all directions except that of the object itself. It melts the walls, floor and ceiling into one continuous surface, rounding off the corners of the space. The ball rolls around aimlessly, presenting new views of the spectator caught in the middle of the seamless gallery space. The kinetic effect gives the abstract object a playful lightness. With the displacement of the perspective comes a change in perception—both of the architecture as well as of the institution space—thereby proving that the artist predetermines everything only to a certain point.