Once we try to conceive space our consciousness always slips because of its (space’s) polished and slippery surface, to put it in Merab Mamardashvili’s terms. Frustration from this uncertainty is not new, but is the legacy of Antiquity and the Middle Ages. The term “materia” did not exist that time either. “Likening the chora (cwra – place, district, country) to mother and preimage to father, Plato finds it almost impossible to “express more precisely” this “difficult and obscure matter”: in fact, he principally denies any possibility of definability of space because of its “highly debatable relation” to the area of definitions. Aristotle is perplexed not only about what is place-space but does not even know if it ever exists […].”
Such complexity leaves the artist with but a single strategy – to create an object (sculpture), place it in “space” and observe the process of interaction. A white snow field in a Moscow suburb close to Nikolina Mountain with its endless horizon served as an adequate metaphor for space where there are white-color streamlined objects, whether melting on the horizon of a fading winter, or just born by the recent snowstorm.
This situation immediately emphasizes the relevance of Heidegger’s question on what is to be considered as a form and what is to be considered as space. If a sculpture frames a border, where is space? Outside or inside? “Space inside which there is a sculptural body as a particular object; space, limited by the volumes of the shape; space as a void between the volumes – do these three spaces exist in unity of their counteraction…? And if they are in unity then what is outside of it? And what do we feel being alone in a dark snow field? Terror? Nothing?
The objects for White Trinity were created as a result of a generalization of an astronomical phenomenon pictured by the Hubble telescope and published in a jubilee issue of Expanding Universe.