Recon-Screen Reference Image

The Recon-Screen installation consists of a large, openwork facets-screens produced in the system for compiling related segments. They consist of white and red wooden slats that form a kind of geometric pattern which multiplies itself with the adding of successive elements to the structure. On the one hand, being a type of wall, the installation limits and divides the space within which it operates, but on the other, because of its open, transparent structure, allows the visual penetration of what is behind the screen, offering viewers the possibility to play with the space, the light and the movement.
The origins of Recon-Screen are associated with Robertson's trip to Tbilisi. In the installation the artist recreated a specific type of barrier system, which he came across in the Georgian capital. They provided a kind of landmark defining the boundaries between public, private, and sometimes even prohibited spaces. A pattern present in the screens connotes the poetics of the warning sign, but it may well be regarded as purely decorative or as a reminiscence of the sixties op-art. In his assumption, however, Recon-Screen is linked to a reflection on the dynamics of repetition and reconstruction, disruptions of urban infrastructure and the new forms of landscape creation. [N. Cieślak]

The Recon-Screen installation consists of a large, openwork facets-screens produced in the system for compiling related segments. They consist of white and red wooden slats that form a kind of geometric pattern which multiplies itself with the adding of successive elements to the structure. On the one hand, being a type of wall, the installation limits and divides the space within which it operates, but on the other, because of its open, transparent structure, allows the visual penetration of what is behind the screen, offering viewers the possibility to play with the space, the light and the movement.
The origins of Recon-Screen are associated with Robertson's trip to Tbilisi. In the installation the artist recreated a specific type of barrier system, which he came across in the Georgian capital. They provided a kind of landmark defining the boundaries between public, private, and sometimes even prohibited spaces. A pattern present in the screens connotes the poetics of the warning sign, but it may well be regarded as purely decorative or as a reminiscence of the sixties op-art. In his assumption, however, Recon-Screen is linked to a reflection on the dynamics of repetition and reconstruction, disruptions of urban infrastructure and the new forms of landscape creation.
Until now several versions of this work have been established. It has been reproduced many times, taking on different forms and meanings, depending on the existing spatial environment. The variant in the collection of CoCA was developed as a site-specific installation designed for the presentation of the exhibition Tag! Base! Hide and Seek, which took place at the turn of 2010/2011. In this case, Recon-Screen has transformed the exhibition room into a sort of interactive children's playground (playscape) where one could watch the game rolling between what is hidden and what is in the sight. [N. Cieślak]