Perspective
2026
anamorphic image inspired by PINK de Thierry’s Standing Stone (1989) integrated into the floor of the public space.
view from Open Pavilion, West Den Haag, Netherlands.
2026
anamorphic image inspired by PINK de Thierry’s Standing Stone (1989) integrated into the floor of the public space.
view from Open Pavilion, West Den Haag, Netherlands.
‘Perspective’ is inspired by PINK de Thierry, whose experimental performances brought art into public space through movement, participation and interventions in everyday environments. Influenced by de Thierry’s performance practice, Öğüt approaches the public space as a site in which the viewer becomes an active component of the work.
The work takes the form of a large-scale anamorphic image integrated into the floor of the public space. The image is deliberately distorted and stretched across the surface so that it appears fragmented and abstract when approached from different directions. From a specific viewpoint, however, the dispersed elements align and resolve into a coherent image. The work therefore functions through perspective: the viewer must physically move through the space to find the position from which the image becomes legible. Rather than presenting a fixed image to a passive spectator, the work makes the viewer’s body, position and movement part of its visual mechanism.
The work refers to PINK de Thierry’s Standing Stone (1989), in which she and her family carried a 2,500-kilogram glacial erratic from Amsterdam to the North Sea and placed it in the surf at Zandvoort. The stone, which had travelled from Scandinavia with the Saalian ice sheet, became both a physical object and a stage for a public image.
The work takes the form of a large-scale anamorphic image integrated into the floor of the public space. The image is deliberately distorted and stretched across the surface so that it appears fragmented and abstract when approached from different directions. From a specific viewpoint, however, the dispersed elements align and resolve into a coherent image. The work therefore functions through perspective: the viewer must physically move through the space to find the position from which the image becomes legible. Rather than presenting a fixed image to a passive spectator, the work makes the viewer’s body, position and movement part of its visual mechanism.
The work refers to PINK de Thierry’s Standing Stone (1989), in which she and her family carried a 2,500-kilogram glacial erratic from Amsterdam to the North Sea and placed it in the surf at Zandvoort. The stone, which had travelled from Scandinavia with the Saalian ice sheet, became both a physical object and a stage for a public image.
