The following review explores 6 international artists exhibited at Noor Riyadh's annual light festival. During the exhibition, Artelier formed strong partnerships with notable artists such as Leo Villareal, Lachlan Turczan, Conrad Shawcross, Cecilia Bengolea, Mariko Mori, and Artur Weber.
This partnership made a deep impression, strengthening the understanding of the significant role artists can have in revealing the visual complexities and probing questions that dwell within us. Artelier curator, Ella Forster, reflects on the artworks after her time working on the exhibition.
Jump straight to the artists
Introduction
In 6th century BC, Greek philosopher Pythagoras invented the term "kósmos" to define the universe, combining the meanings of 'order' and 'world' together. Fast forward to the 21st century, British physicist Brian Cox casually describes to infamous podcaster Joe Rogan how mankind originated; 'the ingredients in our bodies are assembled from the hearts of long dead stars over billions of years'.
The cosmos is forever in motion; its ever-changing nature prompts us to see it as a lively, dynamic force. It is like a celestial pond, teeming with biodiversity, continuously shifting, growing, and evolving within the cycle of life. And just like a borderless kingdom, it laughs from its throne as humanity tries to comprehend its vastness and autonomy, yet we persist nevertheless to explore it. In fact, only 0.0000084% of the population - bold enough to depart Earth - have seen it in person. Amidst its organised chaos, the cosmic machinery operates autonomously, regardless of our human presence. For this reason, one could argue it follows its own choreography, a synchronisation beyond the reach of humanity to try and understand.
How does this translate within the realm of art? Undoubtedly, the cosmos is a canvas for delving into evolving scientific, technological, and spiritual concepts. Like a mirror, it reflects inward contemplation while projecting metaphysical mysteries of the unknown. With its intricate creation of galaxies, stars, and planets, how do we as humans encapsulate this otherworldly spectacle in art? As technology advances and evolves, how can we capture this essence in earthly art forms?
Noor Riyadh
In 2023, the world's largest light art festival came back for its third edition. The event illuminated Riyadh, Saudi Arabia with striking light art installations, including building projections, performances, and exhibitions across five city hubs. Our six featured artists showcased their innovations at the 'Refracted Identities: Shared Futures' exhibition. This took place in the Jax district, an area known for its industrial heritage and as an emerging hub for artist development. In total, 30 artists were included, including notable artists Julian Charrière, Kim Farkas, Rashed Al Shashai, and Farah Al Qasimi.
The importance of light is not new to Riyadh's history and culture, especially in the celestial realm. The lands of the desert, while barren and inhabitable to many, are rich, fertile ground for celestial phenomena, historically facilitated from minimal light pollution and clear skies. Two thousand years ago, in the Saudi desert skies, there was no Northern star to guide the way. Instead, the Bedouin people relied on a trio of stars that moved around the North Celestial Pole to navigate across the vast desert landscapes. Other ancient civilisations from the Middle East - like the Nabataeans or the Dilmuns - have always incorporated celestial bodies into their culture, evident in the alignment of their majestic tombs with specific stars, or the iconography of their stamp seals.
In the Islamic spiritual realm, there are around thirty Quranic verses that endorse the study of the universe. Arabic astrolabes dating back to the 8th century would calculate astronomical coordinates, that are integral - even today - to 21st century prayer time. The teachings of the cosmos is therefore integral to spiritual wellbeing, as is confirmed by Fakhr Al-Din Al-Razi, a 12th century Muslim theologian and philosopher, who praised the 'profound wisdom' of the celestial.
This profound relationship can also be seen in the modern sky; in fact, more than 200 of the brightest stars in the sky have Arabic names, among them Fomalhaut meaning ‘mouth of the whale’, Achernar meaning ‘end of the river’; and Deneb meaning ‘tail of the fowl’. The night sky visible to our world has been artistically inscribed with Arabic.
The Artists
"The gentle pulsing and flickering of stars and nebulae made a kind of music, a sweet easy mesh of whispered tones and sighing harmonies that held him in its force like the earth [holding] the moon.”
Aberjhani, Songs from the Black Skylark zPed Music Player (2016)
Leo Villareal is rightfully hailed as a 'new media artist,' leading the integration of technology into contemporary art. Five artworks from Villareal's series Nebulae (2021-23) were on view, each measuring 152 x 122 x 8 cm. These pieces illuminate the exhibition space with dynamic LED lights, electronics, and custom coding.
What is a nebula, exactly? It is a vast cloud of dust and gas in space, formed either by the explosion of a dying star or by the gathering of materials where new stars are taking shape. A well-known example is the 'Cat's Eye Nebula,' discovered in 1994, believed to be around 1,000 years old and speculated by scholars to be referenced in the Qu'Ran: '"When the sky is torn apart, so it was (like) a red rose, like ointment." (Chapter 55). It is fitting, then, that Nebulae was exhibited in Riyadh, the birthplace of Saudi Arabia and a significant religious centre for Muslims.
The connection between the Nebulae series and real-life nebulae is clear. Nebulae omit vaporous colours of blues, reds and greens from the ionisation process of gasses such as hydrogen, helium, nitrogen, and oxygen. In the artwork series, the LED lights pulsate with radiant hues, mirroring the multidimensionality of actual stars, rhythmic in ode to the elemental forces at play.
Yet paradoxically, it is firmly synthetic and controlled - what appears 'fluid', 'active' and 'alive', is actually digitised through technology. Villareal uses pixels and binary code to craft intricate and rhythmic compositions, allowing the sequences of the code to evolve independently, influenced by factors such as opacity, speed, and scale. This was partly inspired by Cambridge mathematician John Conway's Game of Life (1970) which uses cellular automaton and coded rule to dictate the movement of cells. The result creates a choreography of intricate and unpredictable grid patterns.
This level of control is added by another layer; since real nebulae is multidimensional and multi- faceted, how does Villareal condense it into a wall-based sculpture that is a rectangular prism shape? Right angled and linear, the cosmic activity of nebulae is condensed into an interior space by human intervention. Meanwhile, its content portrays a choreography of fluctuating colours that seem abstract, unpredictable, and exhibit random behaviours distant from predetermined outcomes. As Villareal describes it, this practice represents 'uncharted territory to explore,' challenging the 'brain's compulsion to recognise pattern but resists resolution'.
On the surface, Villareal's intricate coding and lighting sequences in the Nebulae (2021-23) series present a choreograph of visually pleasing colours, appearing blurred yet distinct, atmospheric yet dramatic, kaleidoscopic yet accessible. But on a deeper level of the human psyche, Villareal challenges our perception on what choreography means within cosmic forces; is it realistic to anticipate celestial movements through manmade concepts of sequences and patterns? Influencing both internal and external forces, his role as a mediator feels almost godlike, orchestrating the natural and unpredictable movements of real-life nebulae. The result is a choreography that appears spasmodic but meticulously orchestrated, akin to a puppeteer without strings.
Visit Leo Villareal's work: https://villareal.net/
LACHLAN TURCZAN
"All things are from water and all things are resolved into water".
Thales (624 BC - 547 BC) via Aristotle's Metaphysics (350 B.C.E)
Wavespace (2023) is an immersive light installation piece that explores performance with kinetic energy and water. Sound becomes living light and light becomes living sound, glued with the medium that is water. A masterpiece from a decade's worth of research, this artwork is a successful collaboration between the study of wavelengths, physics and mathematics within art. It uses the study of cymatics, which explores the relationship between sound and vibration. Technology is added to the mix with the use of haptics which uses tactile sensations - like vibration and touch - as a vessel to transmit information. The artwork is therefore both a sculptural and performative tool.
Visitors recline beneath a suspended circular screen in a dimly lit space. A parabolic mirror, atop a polished aluminium pedestal, reflects shallow water where cymatic patterns form in response to infrasonic tones. When the basin hums with low oscillating tones, the vibrational energy of music sculpts the pool of water into choreographed waves, transforming water into a kinetic, liquid lens. The visitor can playfully interact with the piece, interjecting the infrasonic tones with a wave of a hand.
"Wavespace is a liquid planetarium that transforms sound into light"
Lachlan Turczan, 2023
This orchestration of sound is akin to a musical performance, with crescendos and diminuendos guiding the vibrations through tight and relaxed wavelengths. As the song concludes, the hum fades, leaving behind a charged silence that resonates across the spectrum of its journey. The visitor therefore orchestrates a unique symphony between sound and light within the artwork, an experience never again to be replicated. This is supported by Turczan, who states to The New York Times, it is 'much like cloud-gazing or staring into a fire, this experience is never twice the same and unique to each person.'
And the resulting light formations? A spectacle in its own right, the range of cool and warm colours emanating from the installation evokes images of the sea and its waves, or further beyond, the cool, pearly tones from the moon. Today, we recognise that Earth's tides are influenced by the gravitational forces of both the Moon and the Sun. On a molecular level, water is also within us; Turczan recognises this he explains that 'water covers 71% of Earth's surface and makes up nearly 60% of the human body'. An essential life force to our planet, it however is dependent to the Moon and Sun and their low-frequency gravitational waves. The earth orbits the sun, the moon orbits the earth, and in this duality of rotation results in a choreography of back and forth aquatic movement on our planet. The forces at play, whether earthly or cosmic, are not only fundamental to nature but solidify a mutual alliance of interdependence but also reciprocity.
Wavespace (2023) orchestrates the invisible realm of wavelengths into tangible reality, achieved through the application of physics to unveil vibrant and cosmic symphonies of tones, hints, hues, and shadows. With a similar nod to Leo Villareal and Conrad Shawcross, through Turczan’s gentle administration of human intervention, mechanical engineering and technology, Wavespace (2023) successfully choreographs the metaphysical transformation of natural elements into tangible artistic matter.
Visit Lachlan Turczan's work: https://www.lachlanturczan.com/
CONRAD SHAWCROSS
"The Milky Way galaxy is a myriad of tiny stars packed together in the sphere of the fixed stars".
Ibn Qayyim Al-Jawziyya (1292–1350)
Slow Arc Inside a Cube XI (2020) is the eleventh iteration of a light installation series created as early as 2007. Encased within intricate metal lattice structures, two light sources rotate to create a playful, dance-like choreography between light and shadow. They oscillate in a luminous rhythm that alternates, converges, accelerates and decelerates. The relationship between light and shadow is one of co-dependency but also reciprocity.
These motions, generated between the play of light and shadow, are choreographic in their expression. While the creation of light and shadow is generated by the LED bulbs, its final manifestation is dictated by its surrounding metallic lattice, or the comings and goings of spectators. Combined, their physical presence as solid matter obstructs areas illuminated by the sculpture, generating a unique myriad of luminous hues, tints, and tones each time.
From a scientific perspective, this boils down to the fundamental principles of physics and wavelengths; essentially, light is a product of visible wavelengths within the electromagnetic spectrum. Disrupting the wavelength can sometimes result in a shadow. What about wavelengths naked to the eye, however? The electromagnetic spectrum also includes radio waves, microwaves, infrared light, ultraviolet light, X-rays, and gamma rays. All wavelengths have one thing in common; their ability to travel amidst the four states of matter (solid, liquid, gas and plasma) into the wider, celestial realm.
Therefore, one could argue Slow Arc Inside a Cube XI (2020) represents the study of the cosmos, electromagnetic physics and metaphysics in a singular, mechanical device. Shawcross’ use of two rotating LED lights is parallel to the dual binary system of two stars that are gravitationally bound to and in orbit around each other. A nod to the stars, it is relevant to the artwork’s installation in Riyadh, which remains a historic hub for celestial navigation and star gazing. The rotational device also echoes the rhythmic cycles of celestial bodies, like the moon and the sun, as they fall in rise on our horizon within a 24-hour time frame.
"Light is fundamental to our reality and our existence, so it’s a medium that everyone feels an emotional and psychological reaction to.'
Conrad Shawcross
Our human constructs of cycles, such as 24 hours in a day, however can both constrain and expand our understanding of celestial phenomena. Can the cosmos truly be ‘choreographed’ and reduced to a timeframe? The light performance, to some extent, displays orderliness and coordination. The projection of shadowed geometric shapes of various sizes from the lattice cage may suggest randomness. However, the rotational device follows a predefined sequence—this cycle of beginning and end may anticipate viewers with a sense of familiarity and reassurance, of harmony and equilibrium. Thus, what appears sporadic is in fact meticulously choreographed. Through man-made, mechanical means, the constellations are brought into an exhibition space that is interiorised, confined and controlled. This also echoes Leo Villareal's series Nebulae (2021-23).
Importantly, Shawcross remains sceptical of artistic associations to geometric symbolism and ideas of pattern making, especially because of his interest in the complexities of metaphysics. Paradoxically, he does state to find inspiration drawn from influential minimalist artists such as Sol LeWitt and Carl Andre, renowned for their use of grid formats and linear imagery. However, one could argue that there are potential references to Johannes Kepler's Mysterium Cosmographicum (1596). Kepler argued that the Platonic Solids, consisting of the tetrahedron (or pyramid), cube, octahedron, dodecahedron, and icosahedron, dictate the structure of the universe within the Copernican system. Slow Arc Inside a Cube XI (2020), after all, is made of two tetrahedrons.
Furthermore, the artwork was largely inspired Shawcross’ visit to the Science Museum London as a student. Stumbling upon a quote by Dorothy Hodgkin, a pioneer in crystal radiography during the 1950s, Hodgkin's analogy likened the modelling of pig insulin to discerning a tree's structure from its shadow. This analogy, while poetic, is partly bonded by the visual appreciation of pyridines and complex tetrahedral structures. Nevertheless, Shawcross acknowledges that cohesiveness and order has flaws; Shawcross, in an interview with Oliver Spencer, acknowledges the human tendency to seek patterns or rules in everything, even when they may not exist. This sentiment aligns with the perspective of Leo Villareal, who challenges the brain's inclination to recognise patterns when there is not.
We have explored electromagnetic wavelengths, timely cycles, and cosmic order versus chaos, but what about the bigger topic – the universe? The animated shapes, lights and shadows created from Slow Arc Inside a Cube XI (2020) are in the thousands; they almost resemble the night sky and its neighbouring universes. The choreographed performance seems infinite and vast, but also vibrant and animated. This ties to Shawcross’ recent collaboration with Nottingham University, where he explores topics such as black holes, gravitational waves, and false vacuum decay. Consider, for instance, the staggering discovery that planets beyond our solar system span 93 billion light-years in diameter, with an estimated two trillion galaxies and observable planets—a scale that pales in comparison to the estimated 100 to 400 billion stars within our galaxy alone. If each shape projected by Slow Arc Inside a Cube XI (2020) represented a star, planet, or galaxy, then the artwork is a microcosm of the bigger macrocosm, the universe.
Indeed, Slow Arc Inside a Cube XI’s (2020) play on light and shadow mirrors the choreography of the cosmos, while engaging the viewer's on a psychological, neurological, and somatic level. A 'lattice' of complexity in its own right, its performance has a masterful plot structure with peaks and troughs of exposition, rising movement, climax, falling action, and resolution. The cosmic dance between light and shadow and its interdependency is clear, but Shawcross also nods to the fact external forces and matter—including bodies and inanimate objects— contribute to this magical, choreographed dynamic.
Visit Conrad Shawcross' work: https://conradshawcross.com/
CECILIA BENGOLEA
"I heard the universe as an oratorio sung by a master choir of stars, accompanied by the orchestra of the planets and the percussion of satellites and moons."
R.J. Anderson, Ultraviolet (2011)
Cecilia Bengolea’s Astrophysical Light (2023) is a 3D-video, holographic installation that explores the realm of ‘cosmo-choreography,’ a concept merging the metaphysical principles of cosmology and astrophysics to the physical qualities of dance and choreography. This reflects Bengolea’s belief in the interconnectedness of all things, from galaxies to human bodies, bound together by the fundamental forces of the cosmos. The resulting experience transcends the traditional boundaries of bodily presence, inviting viewers to explore human entities on a cosmic level within celestial proportions.
In her holographic installation, a projection features a myriad of colours and shapes reminiscent of the abundant dust and gas found in the Milky Way. This choreography is especially fitting and relevant to its surrounding context in the the Arabian Peninsula. Astronomers such as Alhazen (965–1037), Abū Rayhān al-Bīrūnī (973–1048), and Ibn Bajjah ("Avempace," d. 1138) explored the relationship between the Milky Way and Earth, researching cosmic clusters as nebulous stars and how they were perceived by the naked eye.
It is not her first time exploring the intersection of dance and the cosmos. Bengolea's 8-minute film, Neutrinos Ensemble (2023), emerges from her collaboration with astrophysicist Thierry Foglizzo, who explores the irregular and asymmetrical rules that govern the formation of the universe, such as explosions. These explosions unleash invisible particles, known as "neutrinos," which are naked to the human eye. As they journey physically through us, they transport minerals and oxygen to ultimately reach the Earth’s core.
In light of this astrophysical context, Bengolea choreographs Astrophysical Light (2023) from the perspective of the encounters, dynamics, and eventual collapse of massive stars like supernovae. She orchestrates a visual symphony through intricate movements and fluid gestures, mirroring the cosmic ballet of the universe. Within this cosmic dance, magnetic forces govern the attraction and collapse of elements, from galaxies to stars and cosmic dust, revealing the interconnectedness of all celestial bodies. Dancers in the installation meet, intertwine, and disperse, echoing the cyclical nature of cosmic phenomena. It reflects how stars will spiral around each other before inevitably collapsing, in return creating light.
Bengolea notes a similar parallel in the biological realm, especially human DNA. Our DNA is composed of elements originating from stars—such as oxygen, nitrogen, and phosphorus—that return to the cosmos upon collapse. The spasmodic and unrepressed energies released through dance are therefore an ode to the unseen, metaphysical complexities of the cosmos, of neutrinos, and subatomic particles traversing between bodies. It draws parallels to Leo Villareal’s sporadic and unpredictable series Nebulae (2021-23), which vibrates and pulsates, yet is subtly controlled by hand through basic code. Between Villareal and Bengolea, we perceive the cosmos as animated, alive, and shaped by human intervention.
The spasmodic, dance-like energy radiating from Astrophysical Light (2023) also debates existential ideas of human identity and expression and its place within the cosmos. As Chus Martínez observed while examining Cecilia Bengolea’s method, Western philosophical tradition is logocentric. It prioritises speech and epistemological concepts that elevate written intellect above other forms of bodily knowledge. We place more faith in words and language than what comes before it - our physical presence. Seen that the cosmos is unreachable to the everyday person – 62 miles above Earth, in fact - the 'immediacy' of Bengolea's cosmic dance breaks this geographical barrier.
The prioritisation of 'bodily presence'—whether metaphorical or literal—ahead of verbal or written communication is similar to Conrad Shawcross' approach to exploring his artwork through a 'metaphysical and poetic' lens. Slow Arc Inside a Cube XI presents itself as deceptively simple. Its rhythmic choreography of light and shadow, set within a plain white room devoid of other artworks and accompanying acoustics, is immediate and upfront. Viewers are encouraged to engage with the choreography and movement of the artwork before feeling compelled to delve into verbal discourse or textual analysis. That is because it is impossible not to be physically part of the performance as the rotating light display engulfs the whole room. In this experience, two ‘bodily’ presences are therefore seamlessly merged into one – the viewer and the hanging, rotating artwork. As Bengolea would advocate, a choreography of active 'neutrinos' are present in both herself and Shawcross' artwork before a single word is uttered.
Visit Cecilia Bengolea's work: Cecilia Bengolea
MARIKO MORI
"The ingredients in our bodies are assembled from the hearts of long dead stars over billions of years'."
Brian Cox
When NewScientists viewed Mori's work, they asked the same question as many viewers; 'what would you see when a star is born?'. Influenced by astronomy, studies of consciousness, and ancient teachings, Mori is dedicated to capturing the "spirit or soul of a star," fascinated by its capacity to emit light and radiance and its spiritual significance within the cosmic realm.
Light, shapes, spirits and souls are indicative of forces at play that are animated; they are always on the move, are subject to change and can transition into other things. This must be a challenge for Mori - how does she materialise a cosmic force made through gaseous matter and electromagnetic radiation, that is subject to its own choreographic activity? Furthermore, how does Mori bridge this with metaphysical and spiritual ideas?
Take, for instance, Spirifer III (2018), a creation of Dichroic coated acrylic placed on a Corian base. Coined by the artist, 'spirifer' symbolises the unseen yet profound essence of the spirit. It is interesting then, that at first glance, the sculpture appears static and lacking in motion. However, it has its own choreography, largely thanks to its form and material.
The acrylic displays organic and fluid curves which resembles the dynamic movement of a flickering flame. The sculpture's contours are also a reference to Mori's previous collaboration with cosmologists at Kyoto University, where she aimed to capture the enigmatic shapes of the cosmos into spiralistic forms. When lights are shone upon Spirifer III (2018), they reveal a dancing spectrum of hues—yellows, pinks, and blues—that shimmer from the sculpture. This choreograph of colours makes Mori's perception of the spirit visual, animated, alive and materialised. And without the presence of light, the artwork's flame would therefore be extinguished.
A subtle nod, Mori highlights that the spectrum of inner spirituality is ignited but also influenced by outer cosmic forces. To an extent, this is also shared by Conrad Shawcross, who recognises that light is essential for psychological well being. Spiritual versus psychological, one could argue they are two sides of the same coin. Thanks to the cosmic qualities of light, and its ability to create a choreography of movement visible to the human eye, Mori is able to solidify scientific inquiry and spiritual introspection into tangible matter.
Mariko Mori, 'Radiant Being VI' (2019) and 'Genesis IV' (2022) /© Sebastiano Pellion di Persano & Jeff Mclane
It is not just the cosmic, 'dance-like' forces of light that fascinate Mori. She is also interested in the energised movements of the universe as a whole, which involves its own orchestra of fusions, explosions, ignitions and fragmentations. Mori favours string theory and "ekpyrotic" cosmology ; that the universe is not the product of a single "Big Bang" event, but rather exists within a framework of perpetual cycles of evolution. Simply put, there are parallel universes independently forming their own new galaxies and planets. Indeed, a process at this scale requires vast quantities of bottomless, energised movement.
The origin of the cosmos and extraterrestrial activity is a relevant topic to Genesis IV (2022) and Radiant Being VI (2019), a series of computer-generated photo-paintings. Encased in circular aluminium frames, these works feature pastel pigments created through three-dimensional computer graphics. While the artworks may initially present themselves as ethereal and 'light' in meaning, they however explore historic references to existentialism and the origins of life, in particular relating to particle physics and cosmic theory.
For example, Mori draws inspiration from Ame-no-Minakanushi, a Japanese mythical figure. Otherwise known as "Lord of the Center of Heaven", he was the first deity to emerge in Takamagahara after the creation of heaven and earth from primeval chaos. How does Mori respond to the moving forces that created the universe in artworks measuring 161.3cm in diameter? Does this man-made metric accurately reflect the expansiveness of the topic?
“It really stimulates you to think about scale. You think you’re singular, but when you look at it in the large scale, you’re part of it,” she said. “We come from this natural cycle, and we’re part of the universe—part of a whole."
Interview with Mariko Mori, The Observer,
Visualizing an Endless Universe: Mariko Mori Makes the Cosmos Life-Size, 2015
Mori's statement to The Observer nods to the play of scale in Genesis IV (2022) and Radiant Being VI (2019). Both artworks serve as microcosms of larger macrocosms at play within celestial phenomena: the dynamic movement and energy that shapes and creates the heavens, Earth, stars, and galaxies, a cosmic choreography that captivates both scientific and religious thinkers alike.
Mori not only plays with 'metaphysical' scale, she also plays with 'bodily' scale. Seen that the artworks are interiorised in an exhibition space, their ability to explore ideas beyond the borders of the Earth are instead digestible to the everyday individual. A parallel therefore draws with with Leo Villareal and Conrad Shawcross; all three artists explore macrocosmic questions on a microcosmic scale, often in a controlled, interior space. In Mori's case, her choreography is spiritual, connecting the individual's physical experience to the outer, cosmic world.
Visit Mariko Mori's work: https://www.skny.com/artists/mariko-mori
ARTUR WEBER
"We have sent down water from the clouds, and caused to grow therein every noble species.”
The Qu'ran (31:10) translated by Muhammad Sarwar
Inner Waves (2023) is an interactive sculptural installation designed to surface the viewer's inner voice through auditory-tactile synesthesia. Using the transmissive properties of water, it allows the inner voice to materialise in an audible, musical form. Viewers are encouraged to interact with the artwork touching its surface, made up of of several water-filled vessels. The interaction between the water within the viewer's body triggers a symphony of sounds inside the installation , enveloping the space in music and light.
Inner Waves (2023) therefore choreographs the unseen and the tangible together. Reliant on the powerful conducting properties of water, it produces a chorus designed from biology and physics. And this poetry resonates with Weber's testament to the human spirit, where every touch contributes a poignant note to the symphony of existence. Meditative and spiritual, this is also shared with Mariko Mori who connects it more explicitly to the cosmos however, yet their aim is unanimous; to exteriorise the unseen, non-verbal, metaphysical aspects of bodily presence.
"“When you touch your reflection in the water, do you reach the water in you?'"
Artur Weber
It is notable that Weber shares a similar appreciation for water as does Lachlan Turczan. Both artworks explores relationship between the molecular and kinetic structure of water. And like Turczan, Weber uses technological methods to translate this understanding into a choreographed performance that requires the presence of the viewer. A wider exploration of the relationship between the body and water reminds us that Weber points out that the 'brain and heart consist of 73% water, while the skin is composed of 64%.' The water present in our human body cells holds significant amounts of information, experiences, and memories. If water is so intrinsic to the human body, what does this say about wider, cosmic forces at play that have their own water?
On a cosmic level, the abundance of water in the universe is remarkable. Forbes reported a scientific study indicating that 14 large planets, akin to Neptune or Jupiter, exhibit evidence of water. Additionally, The Week highlighted astronomers' discovery of a cloud of water vapour containing 4,000 times more water than the entire Milky Way galaxy, or roughly 140 trillion times the volume of Earth's oceans.
Water has been present since the earliest epochs of the cosmos, and in doing so, continues to play a fundamental role in our molecular makeup and structure. Similar to Turczan's Wavespace (2023), the forces at play in Inner Waves (2023) - whether earthly or cosmic - are fundamental to one another for sustenance, and are sustained through a choreographic force that is oftentimes naked to the eye. In this sense, Weber successfully materialises the mystic abstractions of the cosmic and science - also sprinkled with a touch of the spiritual - through artistic and scientific collaboration.
Visit Artur Weber's work: https://www.arturweber.com/
Conclusion
"The surface of the Earth is the shore of the cosmic ocean. On this shore we've learned most of what we know. Recently we've waded a little way out, maybe ankle deep, and the water seems inviting."
Carl Sagan, Astronomer & Planetary Scientist
Whether art and science can effectively collaborate has been the subject of extensive debate and scrutiny amongst many academic disciplines. This article challenges this archaic view, maintaining that both disciplines cross paths in the cosmic realm to dissect the enigmatic, the intangible and the conceptual aspects of the cosmos.
While scientists and wealthy individuals invest vast financial resources and advanced technology in unraveling cosmic mysteries, could art also provide scientific insights? In 2023, an estimated 73.2 billion U.S. dollars were allocated to space programs. Vanity projects from billionaire moguls like Jeff Bezos, Richard Branson, and Elon Musk have also pursued their leisurely space ventures, such as SpaceX and Blue Origin. Closer to home, renowned universities like University College London are at the forefront of forging collaborations between artists and scientific institutions like the Mullard Space Science Laboratory. Artists legends like David Hockney have previously collaborated with physicist Charles Falco on optics, while Janet Saad-Cook collaborated with astronomers and engineers to explore artistic interpretations of light, space, and time.
Closer to home, consider Lachlan Turczan and Artur Weber; their artwork reveals an energy now perceptible to the naked eye. Yet, if energy can never vanish but only transform in other matter, perhaps there are further revelations awaiting discovery. Could these artists serve as guides in uncovering scientific enigmas?
The frustrations of the unknown might be easy to obsess over, but these artists' current artworks democratise access to scientific ideas end education. The exhibition is a visual mediator which welcomes viewers to dive into the complexities of the cosmos realm such as physics, particle theory and radiation. It is an interactive space for viewers to learn at their own pace, stripped of institutional bias or political agendas; instead it embraces the unique metaphysical and poetic interpretation from the everyday individual. With 95% of our oceans unexplored, let alone the estimated 95% of the universe, we've barely scratched the surface; let's delve deeper.
Ella Forster
Curatorial Supervisor & Coordinator
During Noor Riyadh, Ella was a Curatorial Supervisor & Coordinator, engaging across all departments from operations to shipping. Working closely with curators Neville Wakefield and Maya Al Athel, she provided guidance on design and technical aspects, overseeing both installation and deinstallation while maintaining thorough documentation. With close communication with all 30 artists, Ella also warmly greeted their arrival during the opening week, ensuring their stay in Riyadh was comfortable and memorable.