All research in the spheres of science and art is based on previous experience. The fields of computer science and the visual arts have seldom merged, and therefore the collaboration between the computer scientist, Peter Møller-Nielsen, and the painter, Jette Gejl Kristensen is unique, and based on a good deal of mutual curiosity about one another’s fields. In the four years during which the two partners have worked on virtual media, they have amassed numerous experiences through their investigations and experiments with virtual media. For the technical side of the process, they have chosen a dogmatic principle based on minimalist ground rules. For the artistic side of the process, the starting point for the frame of reference for their works is that of the painter Wilhelm Hammershøj (1864-1916), and his flat at Strandgade 30, where he lived from 1898 to 1909. In this flat he executed many of the interiors for which he is famous today. In particular, the atmosphere, tone, and the illusory tactile elements of these images form the pivotal point for Peter Møller-Nielsen and Jette Gejl Kristensen’s 3D installations, which are best experienced in CAVI’s panorama cinema.
“ROOM NR. 1" or "Stone" takes place in the big front room of Hammershøj's flat. A carpet with a stone pattern covers the floor. A semi-transparent version of the carpet gradually starts undulating like the surface of the sea, while slowly elevating from the floor. When the undulating surface flows in the middle of the room, the walls of the room fades away while the fluctuating surface slides towards the spectator, giving an experience of being beneath the undulating surface, like forced under water.
“ROOM NR. 3” or "Grass" takes place in the small front room of Hammershøj's flat. A net constructed from a close-up photo of blades of grass hangs from the ceiling. The point of view is moved around in the room on a sliding track, the net initially swinging gently. Gradually, as the net descends further and further into the room, the oscillations increase, and the net begins to resemble rolling landscapes and mountains, ultimately becoming a black imprint on the surface of the floor.
