Artist Olafur Eliasson reveals his latest public art installation in Doha, Qatar. The سفر الظلال في بحر النهار “Shadows Travelling on the Sea of the Day” installation is located past Fort Zubarah and the village of Ain Mohammed.
Olafur Eliasson’s Shadows travelling on the sea of the day (2022) continues the Icelandic- Danish artist’s longstanding exploration into the interplay of human perception and the natural world. The installation comprises twenty mirrored circular shelters, three single rings, and two double rings that are positioned according to the axes of a fivefold symmetrical pattern, with the ten shelters at the center forming a pentagram, or five-pointed star. The principles behind such patterns were recently discovered by mathematicians in the West, although they may have informed some of the sophisticated designs found in Islamic cultures since medieval times.
Regarding his artwork, Olafur Eliasson said, “Shadows travelling on the sea of the day, 2022, is an invitation to resync with the planet. It is a celebration of everything being in and moving through the desert site north of Doha at the time of your visit – animals, plants, and human beings; stories, traditions, and cultural artifacts; wind, sunlight, air, and shimmering heat.
On arriving at the installation, looking up at the mirrored undersides, you will come to realize that you are, in fact, looking down – at the earth and at yourself. Above and below, sand envelops you, together with anyone else sharing the space. It is a kind of reality check of your connectedness to the ground. The mirrors connect and perfect what is physically distinct and partial, linking the actual surroundings with the reflected space and creating a sea of interconnections. The oscillation of your gaze, together with the movement of your body, may amplify your sense of presence, while the curving structures seem to dematerialize, becoming naturalcultural landscape.”
Artistic Statement by Olafur Eliasson:
Shadows travelling on the sea of the day is reached by driving through the rugged desert landscape, northwards from Doha, past Fort Zubarah and the village of Ain Mohammed. You may already glimpse the artwork from afar, situated on the horizon like a small informal settlement or industrial site. When you finally approach the artwork on foot, the uncertainty of what you are in fact seeing may stay with you a little while longer. The landscape – a vast, sandy plane dotted with desert plants, traces of animals, and rock formations – extends around you for many kilometres in all directions. Perhaps the shimmering line of the horizon is the artwork’s outer limit.
Yet it is not only you who have journeyed to meet up with the artwork. Its cool, hospitable shadows travel slowly across the sandy ground during the day and more rapidly at dusk and dawn. Above you, in the ceilings fitted with large mirrors, you may also – with the right amount of patience – detect these cyclical journeys.
Looking up, you come to realise that you are, in fact, looking down – at the earth and at yourself. Above and below, sand envelops you, together with anyone else sharing the space. To test what you see, you might extend an arm and wave to yourself or wiggle a foot while looking at your reflection. It is a kind of reality check of your connectedness to the ground. You are at once standing firmly on the sand and hanging, head down, from a ground that is far above you. You will probably switch back and forth between a first-person perspective and a destabilising, third- person point of view of yourself. This oscillation of the gaze, together with the movement of your body, amplifies your sense of presence, while the curving structures seem to vanish into the surroundings, dematerialising and becoming landscape.
If you look at the clusters of sculptural elements unfolding left and right, you may notice a quite extraordinary effect: the array of mirrors connects and perfects what is physically distinct and partial. The mirrors each reflect their own semicircular support, completing them into perfect circles. The neighbouring mirrors reflect the steel structures as well, creating a sea of interconnections. Reflection becomes virtual composition, changing as you move. What you perceive – an entanglement of landscape, sprawling sculptural elements, and visitors – seems hyperreal while still completely grounded.
I hope you will become sensitised to the surroundings as you meander beneath the shady mirrors. Walking slowly – without the protection of a fast-moving, airconditioned vehicle – you may be able to take in a landscape that is not barren and empty but comprises desert animals, plants, and human beings; stories, traditions, and cultural artefacts; wind, glaring sunlight, thick air, and shimmering heat; semicircles and rings; traces and tracks; and curiosity, fatigue, and wonder. Shadows travelling on the sea of the day is a celebration of all that is here; of everything moving through the space at the time of your visit, of your presence within this naturalcultural landscape. It is an invitation to resync with the planet.
