Ideologies

Ideologies positions the viewer inside a near complete circle of translucent imagery. Fragmented signs, figures, and chromatic fields overlap across the curved installation, forming a visual environment that cannot be apprehended from one stable viewpoint. There is no neutral position outside the work. The viewer is at once its reader and a body contained within its field. The title locates the installation within systems of organised belief: the images through which societies describe themselves, distinguish allies from adversaries, and give abstract power a persuasive form.

Rather than resolve these signs into one argument, the work places them in collision. One image becomes the ground of another; meanings accumulate, obscure one another, and change through movement. Transparency does not clarify the field. Its layers create saturation, and saturation approaches opacity. Ideology is therefore present not only in what the images represent, but in how they organise attention before conscious judgement begins. From outside, the curved planes can be read as a sculptural structure. From within, they become a horizon that surrounds perception. The work holds participation and distance in tension, asking whether a viewer can ever stand entirely apart from the images through which reality is made intelligible.

Image, colour, and collective power

Colour operates here as both atmosphere and code. It gathers separate images into zones of affiliation while the translucent construction prevents any division from becoming absolute. Every surface remains penetrated by what lies behind it.

The work’s scale turns interpretation into a bodily act. There is no privileged position from which the whole can be mastered. The viewer must navigate a field in which symbols are at once persuasive and unstable, and in which visibility is continually reorganised by proximity, movement, and light.