TITLE || INNER PYRAMID
KINETIC SCULPTURE/ INSTALLATION

An interactive metal artifact, which contains four sides, each with six metal walls. These walls come together to form a little pyramid on the top of a larger one. The top side of these walls have photovoltaics, so when the pyramid opens during retail opening hours, it will compile solar energy. The solar energy will help produce light when the pyramid is reversed in after retail closing hours and is used as a light fixture. As a result , the pyramid turns upside down depending on the day or night.
This art work is a subconscious research of an ancient geometrical structure of a pyramid. Α form with four sides and two mutable surfaces, which moves up and down depending on the day or night time. The innermost of this work is hidden in the top of the small pyramid. It is metaphysical, which is the excess form of nature. The main pyramid hides all the energy which helps the structure move and give it space for motion.
The initial function of this idea starts with the main point, a form surrounded by four walls and these walls in turn have five larger walls on each side. The final geometrical form is completed in a pyramid shape. The artifact designed to interact with the viewers. Every time you get close to it, the walls extent upwards and when you distant yourself from it, the walls retract in the ground. “Inner Pyramid” is formed for the inner truth of Balanced Art.
Inner Pyramid is a green geometrical interactive approach for public art.
(c) Zoi Zipela

MARKS ||PROPOSAL FOR AN INTERVENTION IN PUBLIC SPACE 2017

Gauforum Weimar is a monument with historical and political importance in Germany. There are too many ideas and interpretations about it but no art implementation. Gauforum Weimar was designed as a Nazist prototype, a “regional centre” in 1936. I was truly interested in the big-size changes that the construction of G. W. caused; the transposition of the Asbach canal, the movement of a big number of families and businesses and the demolition of old buildings. This endeavour was an affliction which provoked intense reaction and brought changes to the city of Weimar and its citizens.
The Gauforum Weimar square was renamed to Adolf Hitler Square and in 1945 it was again renamed to Karl Marx, another element of the unbelievably intense and extreme attitudes which were the outcome of that specific chronological period and can be hardly specified in history. Those were rapid and unexpected movements, a kind of fast and easy expiation from a past that influenced peoples’ lives and cities. Having to work and deal with a place like this –where history burdens its existence- I felt like being in a dead end condition because history influenced me but could not liberate me. We do not have to forget the past that this strong architectural construction created but we have to face it so that we will not forget and this experience can be transformed into knowledge.
The art suggestion is called Marks and it is a work of exploring and accepting the past. It is a modern, subtractive perspective which combines materials such as soil, glass and metal, uniting the past with the present and the future. As a bark of a cut tree can confide the years of its life and its past in us, this work of art can acknowledge and realize the knowledge that nature offers and carved scars are created in the middle of this monument so that we can explore what we can hardly see.
Big circular, dug surfaces, like deep cracks which make an intense reference to the Victims of Fascism and all of these pages which were buried; these are memories and an opportunity for liberation. Over these cracks, glass will be applied so that dug soil will be sighted and the visitors will have the opportunity to walk over them balancing between the past and the present.
The last material that will be used is steel and will be positioned on the remaining parts of the circular surfaces which will play the role of a mirror, referring to the future. It is an installation –partially a sculpture- through which we help nature to talk. Over the years, a lot of layers of soil are added and we are buried; this intervention is a chronological throwback, like paying to tribute to history and everybody who was part of it. Attributing the causes, we can be deeply connected to the essence of art in relation to nature. It is a contribution so that we can experience Gauforum Weimar holistically through a poetic or probably deeper sighting of its existence.