Las Meninas, 1998

It is named after the famous painting by Velasquez, itself about representation. Velasquez challenges the viewer by making the spectator the model to be viewed and vice versa. The viewer is thereby put in a privileged position but is also in an inescapable position by virtue of the point of view of the characters of the painting. The canvas is forever invisible to the viewer. In the stereoscopic Las Meninas I alter this relationship, allowing the viewer to challenge the notion of the painting - that we will always remain static in our relationship to it, by providing dynamic interaction with the elements through stereoscopy. >>>[more]

Mitologies, 1997

It is loosely based on the Cretan myth of the Minotaur, the revelation of St. John, Dante's "Inferno", Durer's woodcuts after the revelation, and Borges' Library of Babel. The connections between these sources are central to the unfolding of the narrative. >>>[more]