This experiment aimed to reinterpret the visual representation theory of the holographic object, employing Joseph Kosuth's conceptual assumptions from his conceptual artworks as a model for conceptually decoding the holographic scene. Indeed, holography in its essence is much more than a mere image or even a non-traditional medium; rather, it represents a unique combination of the virtual and real properties of the physical form, where the viewers recognize it as a real form, but physically, it is untouchable. We must understand this as a new visual interpretation of reality, not an illusion or trick.

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While Kosuth’s conceptual art is represented by three separate conceptual definitions of an object (real, visual, and verbal definitions), every definition represents an epistemological frame that targets our perception through different sensory channels. This project investigated the holographic form as a physical alternative that combines the same three definitions of an object into a unified physical form. Hence, the project assumed that the holographic model is a form of post-conceptual art that represents an emerging intensive reality.

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I built a temporary holographic lab in one of the conservation labs at the University of Applied Science, Bern. The primary purpose of this lab was not only to record holographic objects, but also to analyze them physically and artistically. This artistic project was performed over a span of 7 months. The first period was used to prepare the experimental setups and samples (from February until April 2016), followed by another 4 months to execute the experimental procedures (from May until August 2016).

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