Rather than presenting an image of reality existing as a separate entity for contemplation, as is typical for holography, I chose to focus on the sensory experience of light, space and form. The use of this next generation holographic technique to create an artwork is inherently embedded with a politically charged discourse, as the technology was developed with funding by DARPA (the Defense Advanced Research Projects Agency of the United States Military). The typical use of this technology is battlefield mapping via flying drones and satellites. This mapping is in an attempt to grasp at a totality of mechanized perception, and present a microcosm of reality held in a timeless synthetic container. The glossy surface and shimmering hogels of its data are a reflecting pool for the all seeing eye of the military-industrial-complex. My intention was to directly challenge the language of this spectacle, and the means of its production. This work is an inversion from appearance into direct experience, yet it itself becomes inverted again into an image by means of its own documentation.

An even cube of points occupies the pictorial space making visible the underlying sensation of illusory space and light. This abstraction is presented without burdening the viewer with a symbol, sign, or reference to the outside world. With each successive row of points moving deeper in space the distribution of points is disrupted with a fractal turbulent pattern. This is the same underlying mathematical structure that drives turbulent liquid dynamics, such as smoke and air mixing together. As the form becomes more turbulent the number of points decreases, dissolving and decaying into the depths of the holographic space. This entropy stands as a representation of time held still in a digital and static interior world. The collapsing points seem to take the form of a ghostly apparition, at once seeming like a human form and a wisp of smoke. In the deepest space visible within the hologram, an aura of turquoise light shimmers, calling the viewer to gaze into the maw of an incorporeal void.

The transition is a becoming, a revealing and a bringing forth. A journey upward as a manifold becomes manifest and as an abstraction is carried from the void of formlessness into a vessel of form. This upward flight is analogous to the structure of the spiritual quest. The space begins from our material world and is at once introspective and a progressive ascension toward an enlightened, and ethereal form. This composition suggests a promethean urge to know and self improve, to become enlightened, and climb up the great chain of being.

This shimmering incorporeal light is a gateway to a heavenly paradise, and an angelic, or perhaps demonic, formless spirit luring the viewer closer. It is the pure signal in our chaotic world of noise, the light from outside of Plato's cave looming forever beyond reach yet taunting us to push on.