We created the OP objects to reveal the extraordinary relationship between color and light. They are a tribute to color and its ability to surprise, transform, and delight. We also wanted—both literally and metaphorically—to shed light on the material beauty of ceramics, a medium that has captured our professional lives.

 

Color and light are inseparable. Light creates color and changes the relationships between colors. A light wave has no color, and neither does the surface it illuminates. Color gains its human meaning only through processes occurring in the eye and brain. This means there are colors we will never know, as our eyes can only perceive light waves of specific lengths. One could even say that colors do not exist without our experience of them.

 

OP objects explore the world of optical phenomena, based on the mutual interplay of light, color, form, and human perception. They are instruments for experimenting with vision. When placed in the gallery space, they form a living composition in which the human presence plays a crucial role. The components of this collection, connected by a subtle web of physical laws, enter into dynamic relationships—casting light, reflecting it, covering one another in shadow, exchanging colors.

 

Cool blues disappear under the light of a bulb, while warm yellows reveal their fiery nature. With the viewer’s movement and changing light conditions, the colors shimmer, glow, blaze, caress, clash, fade, dull, and deceive—and we allow ourselves to be fooled. The elusive nature of these phenomena makes us aware that the boundary between reality and perception is fluid.

 

The OP collection consists of objects emitting their own light and reflecting it. At the center of the exhibition are openwork screens stretched between floor and ceiling—OP Wall. Ceramic tiles, threaded onto brass rods, rotate around their own axis, opening or closing the space. The artists envisioned these as interactive images, whose open form allows viewers to create new compositions. The front and back are two separate images, which blend into each other through touch. Each rotated tile changes the arrangement on both sides. As a result, a wall of seventy tiles can form 1,180,591,620,717,411,303,424 possible configurations. This number is about 150 times greater than the number of all grains of sand on Earth and slightly smaller than the number of atoms in the human body. The poetry of this number evokes a kind of melancholy, stemming from the impossibility of ever testing all combinations. In this situation, the obsession with creative control disappears, replaced by the pleasure of experimenting with infinite variations alongside the participants in the experience.