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video 7.03 The video creates an entry into fictional reality, where objects are transformed into fleeting luminary apparitions – softened, multiplied, liquified forms levitating through warped or non-gravitational space.

video 6,’42 Images of material objects (sculptures by Alen Ožbolt) are digitally processed and projected into virtual, fluid spatiality, appearing as dematerialised floating, kinetic light forms, freed of the constraints of time, mass and gravity.

video 2,38 The video was created for the track Cast to the Bottom from the album The Great Crater by Scanner (Glacial Movements, 2017). Composed of landscape 3d digital simulation and digitally processed video recordings, the video shows a virtual

Diptych: laser-cut and digital print on plexiglass dim: 200 x 135 cm The hanging objects present microscopic image of a carbon substance (up) and its digital mapping (transcription) into a reciprocal space (down) by the use of digital fast Fourier

Sound-kinetic diorama exterior: acrylic object in crystalloid like form; interior: relief , turntable, light, sound dim: 115 x 72 x 70 cm The kinetic diorama submerged within and enhanced by the audio environment observed through an opening in the

video 13,16′ The recording of dynamic forms of magnetic fluids that are produced by invisible magnetic fields direct the experience of the material in relation to the immaterial. The ferrofluid structures, which are in reality only a few centimeters

X-ray films, series (4) dim: no. 1: 155 x 116 cm, no. 2: 155 x 124 cm, no. 3: 145 x 124 cm, no. 4: 145 x 116 cm The installation Anatomical Transfigurations explores the effects of medical visualizations and mediation of the internal body upon the

Video projection onto an image on a mirror (video loop, 3′) mirror (110 x 110 cm), foil covering, projection and reflection variable dimensions The video installation Butterfly uses radiological images of the author’s brain responding to different

Plexiglass, resin or light reflection, light projection, reflective foil variable dimensions 'Uršula Berlot’s work develops out of the evanescence of perception, predominantly delving into the realm of optics. Reflections and shadows produce

The kaleidoscopic rhythmic structure of a recurring pattern is not a computer-generated picture, but a video recording taken on a digital camera and a kaleidoscopic instrument. The infinite recurrence of one and the same element in micro- and