the
invisibility
of
huge
things
(2018)
This project was held during the Artist in Residence Programme at Nida Art Colony, Lithuania. It was partially funded by the Ministry of Culture of Lithuania and supported by the Vilnius Academy of Arts
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EN | PT
The Invisibility of Huge Things | 2018
Installation view
Tuning forks, speakers, wood and folded paper
Variable dimensions
The Invisibility of Huge Things | 2018
Installation view
Protection glasses and paint
Variable dimensions
The Invisibility of Huge Things | 2018
video stills | chapter V - Final
HD | 16:9 | 25'08" | stereo | color
The enigmatic trajectory of an inventor known only as T. H. lies at the heart of fragmented research documenting his creation of a revolutionary device—one purportedly capable of pinpointing vast geographic zones vulnerable to catastrophic upheaval and sudden, radical transformations in their geological foundations. Yet, the inventor’s life, the mechanics of his apparatus, and even his motivations remain shrouded in obscurity. Skepticism pervades the scientific community, fueled by the absence of definitive records: no coherent journals, no technical schematics, and no verifiable proof of the machine’s efficacy survive. All that endures are a handful of ambiguous photographs (their origins as mysterious as the inventor himself) and scattered, near-illegible notes—fragments that offer glimpses, but no answers.
The Invisibility of Huge Things | 2018
Video excerpt
HD | 16:9 | 2'04" | estéreo | cor
Waves catcher | 2018
Wood, folded paper and head-phone
Variable dimensions
The device itself has never been replicated, nor its claims validated. Instead, these remnants invite a different kind of inquiry: not into the apparatus as a feat of engineering, but into the mind of its creator. What drove T. H. to obsess over landscapes teetering on the brink of chaos? Was his work a warning, an experiment, or something more unorthodox? Within the gaps of his biography, anomalies emerge. His writings betray a psyche unmoored from rigid scientific pragmatism, favoring intuition and embracing ambiguity. The very unpredictability of the geological phenomena he sought to map seems to mirror the labyrinthine turns of his own reasoning—a duality that raises unsettling questions. Could the device have been less a tool for prediction than a conduit for something darker, a reflection of its creator’s unraveling grasp on order?
To reconstruct T. H.’s story is to confront not only the ghost of a forgotten genius, but the haunting possibility of a technology that might have redirected the course of civilization—or hastened its undoing.
Kolekcionierius | 2018
Video still
Chapter 6 | The Invisibility of Huge Things
Sample I | 2018
Object detail | Wood, mirror and lichens
Variable dimensions
Sample II | 2018
Object detail | Photograph, glass and lichens
Variable dimensions
The Invisibility of Huge Things | 2018
Partial view of Installation
Open-studio NIDA ART COLONY
Variable dimensions
The Invisibility of Huge Things | 2018
Installation detail
Wand and sugar
Variable dimensions
Behaviour of waves | 2018
Mineral pigment on cotton paper
290 x 435 mm
The Invisibility of Huge Things | 2018
Partial view of Installation
Open-studio NIDA ART COLONY
Variable dimensions
The Invisibility of Huge Things | 2018
Partial view of Installation
Open-studio NIDA ART COLONY
Variable dimensions
Field recording | Curonian Lagoon (january 2018)
Nida Art Colony catalogue "Linijos Ritualai Perfor(m) uoti peizažai"
ISBN 978-609-447-325-8
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