Interspace

Walking through this train station, one might find oneself distorted into something unsettling.

Twenty-one mirror fragments slowly shifting between circular and oval shapes make up the sculpture Interspace (2021). The varying speed and reflections of each fragment generates a shimmering, ever-changing mosaic of the environment. While a conventional mirror promises to be in harmony with reality  – a singular image of what one perceives as a singular entity – Interspace's upsets this through a patchwork of radically altering, and differing reflectors.

Like many of Sunada's works, Interspace is more machine than sculpture, whose purpose is the delivery of experiences rather than their representation. Experience-machines require engaged subjects; and only in collaboration with curious passers-by is the fixed shape of the self altered, and the gaps between subjective experience and reality laid bare.

In this sense, Interspace discloses itself as a palimpsest of there (that which we observe) and here (from where we observe), or, as put by Rainer Maria Rilke in his poem Spaziergang, from which Walter Benjamin would later derive his definition of the Aura:

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Already my gaze is upon the hill, the sunny one,
at the end of the path which I’ve only just begun.
So we are grasped, by that which we could not grasp,
at such great distance, so fully manifest—

and it changes us, even when we do not reach it,
into something that, hardly sensing it, we already are;

a sign appears, echoing our own sign . . .
But what we sense is the wind against us.

-Rainer Maria Rilke, Spaziergang (1925)