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The four-dimensional "Truncated 600-cell" does fills space.
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I make a large tetrahedron - eight feet along each edge - allowing people to go inside it.
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Fluorescent lights define an octahedron on its interior mirrored surface.
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Reflections move outward in all directions - beyond the confines of the tetrahedron - expand
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kaleidoscope
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I construct a tetrahedron of two-way mirror plexiglas. Entering - one is surrounded by a new space -
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seeing their own reflection as though inside a kaleidoscope - experiencing a sense of unreality -
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multiple reflections from inexplicable and contradictory directions -
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the result of the unpredictable reflections within a tetrahedral space.
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Many people have never seen their reflection from angles other then those within a cube.
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Some are fascinated - some disoriented - some feel claustrophobic -
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others enjoy the feeling of endless space - a sense of experiencing the fourth dimension.
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"The common aesthetic element shared by my work in clay and the close-packing structures is that both use
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segments of infinite structures that transcend the classical "object" of sculpture. The tile tessellation can extend infinitely
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in two directions, the tensegrity close-packing can extend indefinitely - infinitely? - in three-dimensions and the neon
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pieces are reflected into space infinitely by mirrored surfaces. In each case I have given the viewer a sample unit, but the
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objective is to extend the viewer's concern to infinity." Written for my essay - "Randomness and Order in Sculptural Form",
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HYPERGRAPHICS: Visualizing Complex Relationships in Art Science and Technology, - edited by David Brisson,
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Westview Press, Boulder, CO 1978, pp169-176.
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