In the distinctive artistic world of Roland Kazi, he first explored the unique, now nearly forgotten yet still vivid countryside environment, reimagined in a contemporary guise. Later, his interest turned toward the intersections of science and art, programmable foundations, the medium of kinetic art, and the investigation of chance as well as physical phenomena. In his upcoming solo exhibition at the Project Room, he continues to explore metaphysical concepts and the perception of reality, this time engaging with the human limitations of spatial perception and the possibility of overcoming them through art.
The artist creates kinetic installations, objects, animations, and images across diverse media, striving to comprehend discoveries about the world around us — much like the inquisitive scientists, inventors, and groundbreaking artists of past centuries. He works not only with scientific precision but also employs scientific methods to represent vision, infinity, causality, and temporality. Already in his 2018 Continuous Present “space-time bending machine” and the exhibition of the same title, he experimented with the relationship between matter and spatiality. At that time, his focus was on the transformation of matter in space — whether fixed, temporary, or cyclical — while his latest series shifts attention to the representation of perceiving spaces that transcend our own reality. This continues the research into the relativity of human perception.
The most recent concept Kazi has been exploring is hyperspace, which refers to the surpassing of the three-dimensional space accessible to human perception. Thus, the works presented now revolve around two- and three-dimensional projections of the fourth dimension. His research began in the digital medium, enabling experimentation with shifts toward higher dimensions both in two-dimensional images and in the central work of the exhibition, a kinetic object that renders the fourth dimension visible in the form of a three-dimensional, spatial projection.
Kazi also employs the Möbius strip — an apparently infinite, self-reversing circular space — to illustrate space-time in higher dimensions, where it becomes knotted and disrupts causality, pushing the boundaries of perception and comprehension.