The SPACELANDERS project weaves philosophical and literary allegories about human perception into its artistic exploration of space, time and scale. Inspired by Edwin A. Abbott's FLATLAND: A ROMANCE OF MANY DIMENSIONS and PLATO’S ALLEGORY OF THE CAVE, the project delves into the nature of reality and our understanding of it. 

In FLATLAND, the protagonist, A. Square, journeys through a two-dimensional world, encountering beings of various shapes and discovering higher dimensions. The story serves as an allegory for social hierarchy and the limitations of human comprehension. Similarly, Plato’s allegory describes prisoners mistaking shadows for reality until one of them escapes and discovers the true world outside the cave. Both narratives highlight the constraints of perception and the potential for deeper understanding.

In SPACELANDERS, a tiny but intense light source meanders through fragmented computer models of clay lumps, casting stark shadows onto a surrounding sphere. The morphing shadows evoke the curvature of space, ancient landscapes, and flocks of birds, making space not just a backdrop but a central character in the project.

The project also draws on Slavoj Žižek’s THE PARALLAX VIEW, which emphasizes the philosophical implications of parallax. Žižek posits that reality is inherently fragmented and incomplete, with gaps between different perspectives being intrinsic to its nature. SPACELANDERS navigates the field of tension between the Žižekian vision of reality’s ontological incompleteness and the notion of an organically flowing spacetime.

The SPACELANDERS exhibition features both prints and projected animations. While the black-and-white video sequences use motion to establish spatial perception, the prints employ a diverse spectrum of colors to convey depth, offering a contrasting yet complementary experience of the project's themes.