The medium of video conflicts with the principles of De Stijl, because video relies on a visual vocabulary of observable reality, while De Stijl, on the other hand, was characterized by eliminating any reference to observable reality. Moving images such as video and film could only be animated geometric abstract compositions. In fact, De Stijl artists Hans Richter and Viking Eggeling even produced animated abstract films in which they brought this principle to fruition.
In the two projections for this exhibition, observable reality is subordinate to framing, which results in abstract forms. Both movies refer to the compositional principles of De Stijl in both color and line.
The projection ‘Shifting Laundry' is a reflection of primary colors on the wall that are arranged differently each time. The arrangement provides a different composition each time, but one that retains the same proportions.
The projection ‘Creating a Disturbance’ refers to the linear compositional principles of De Stijl. The waves disturb the square tiles on the bottom of the swimming pool, and thereby transpose the rectilinear pattern to an organic composition. Alternating linearity with its organic deformation refers to the disruption of the principles of De Stijl.