Flower from the Universe

A gigantic light flower, seeming to float above the surface, with a heart modelled on a brain cell, encircled by a garland of graceful stems. A circle of seven pods lies under the heart, in here is hidden the seed of movement. 

By walking around the artwork, the visitor sets off a wave of moving colours. The flower records the colours surrounding it and transfers these to the ‘petals’ into which the garland is divided. On the edges of the petals the reflected colours gradually run into one another. The brain cell in the heart has illuminated offshoots that follow or are in contrast with the colours in the garland. A dynamic interplay is created with both the viewer and the surroundings influencing the light flower. 

In order to also be able to read colours by night, all the stems have a searchlight. If no movement or colour change is detected then the light flower switches to a pre-programmed pattern.  

The principle behind Flower from the Universe is physical space. Space as palette, as biotope: a living organism. The work emphasises the poetry of the site. Colour and movement intertwine in the artwork. The context changes continually, viewer and light sculpture intermingle and connect and are together incorporated into a unity of time; there is no beginning or end. The intelligence of the natural order prevails.

Flower from the Universe works using sensors and specially developed software that controls the LED lights in the stems and the offshoots of the brain cell.
Each of the 35 stems comprises three clusters of LED strips, which can change colour independently. As a colour is detected by one of the seven sensors this then influences one of the seven ‘petals’, each of which serves a sensor. If there is no stimulus for some time, then this petal distribution can change into an entirely different one. The 18 offshoots of the brain cell each comprise a cluster of LED strips and can be individually controlled. When there is interaction they take on the dominant, or perhaps the complementary, colour of the closest petal. Without external stimulus the offshoots also switch over to internal control.

The work is supported in the middle by a stainless steel frame on four adjustable legs. A pivot point can be fixed at the base of each stem enabling the garland to fan out in different ways. The electronics are concealed in seven horizontal pods that form part of the visual image. The work is switched on and off using a time switch.

LED light in polycarbonate tubes and cast in transparent polyurethane, stainless steel frame, polyester heart and electronics.