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"The Invisible" is presented as a sculptural performance consisting of eight duplicate custom-built robots all suspended and arranged evenly in a circular pattern from a metal frame. Fedora hats are attached via a multitude of black rods to each

Giving the first impression of a simple commodity sculpture "AutoGene" lures the viewer into a false sense of security which is then at the flick of a switch rapidly dispelled. The seemingly mundane umbrellas are transformed into magical animated

With "Arabesque" I have concerned myself not only with the sculpting of three dimensions but also with a fourth, the dimension of time. I have endeavored to create a sculpture that evolves transforms and even regresses. An artwork that falls

Inspired by the "Industrial Revolution" and the subsequent changes in human development brought about by that revolution. A path that has and will lead humanity to both heaven and hell. I wanted to try to capture the paradox of this duality by

Old News (2002) is a sequence of brief interconnecting meditations/prose poems set in a context of current news headlines and photos, which are constantly being updated from various news sources. A variety of technical means are used to emphasize,

Peter Weibel is considered to be one of the poineers of interactive, computerbased installations. In this work from the early nineties, the participants are being filmed upon entering a room. They see "their" film on a large screen while there is a

For the opening night of the #HYPERLINK festival on 26th April 2013, Alex May debuted a 75 minute ‘Painting With Light’ live video mapping art performance in the South Tank at Tate Modern, London. Using his own custom software, Alex creates scenes

A series of video illusions for drivers is projected onto the front window of the Cartier Foundation, Boulevard Raspail, one of the main streets in Paris. The real-life scale of these videos gives drivers the impression that new streets have opened

This project, presented in both a Saint Petersburg factory and museums of the West, is an interaction between spectators and the artist. The artist films each participant and throws their image back at them just as they start to relax in front of

Two video projections are confronted on the same screen. The first shows the bodies of African dancers in exultant movements, gradually moving into a trance. The other presents the State’s armed forces: the worrying and repressive face of the