The exhibition unfolds a modelling problematic with many ramifications, where the formula can only end with the word “patience”. Krisztina Bóka’s works balance on the precarious, blurred border between sculpture and photography. The photographic negatives disappear, as they are replaced by the hidden interior space and reflective exterior surface of the original object itself.
Her process uses both the technique of the pinhole camera (the ancestor of photography), and the photogram, a genre familiar from avant-garde art of the 1920s, on light-sensitive paper. To reveal the closed anatomical apparatus, the artist chose a fundamental theorem in mathematics.
Equal in edges, dihedrals and dihedral angles, She transforms the five existing spatial regular solids – the tetrahedron, the hexahedron (also known as the cube), the octahedron, the dodecahedron and the icosahedron – into a self-reflecting ‘dark chamber’, so that the original object and the copy made of it are identical.
The examination through this contemplative process reflects itself as an uroboros, a snake biting its own tail, in order to reject the contemporary habit of viewing images at the TikTok spin level.