Video essay, 4K. Combination of 3D animation, photogrammetric scans and synthetic voice-over. High-performance workstation (NVIDIA RTX series) Result is a continuous projection of water micro-world.
BASIC INFORMATION
TECHNICAL SPECIFICATION
CONTEXT AND ORIGIN
ARTWORK CONCEPT
EXHIBITIONS
CONNECTIONS
Series
Inter Solaris
ID
2020-IS-RV-01
Date of origin
31.10.2020
Technique
Video essay, 4K. Combination of 3D animation, photogrammetric scans and synthetic voice-over.
Dimensions
Digital file, 16:9
Duration
14:00 min
Software
Integrated production pipeline: 1) Fusion 360 for technical modeling and animation of Inter Solaris sculpture deconstruction. 2) Unreal Engine 4 for virtual landscape with integrated 3D scans of natural objects. 3) Adobe Audition for voice-over mastering. 4) Adobe Premiere Pro for final editing.
Hardware
High-performance workstation (NVIDIA RTX series)
Data source
Autogenic, self-referential data: 1) Original 3D CAD models of Inter Solaris sculpture. 2) Photogrammetric 3D scans of rocks and plants from locations. 3) Author text for voice-over.
Interaction
Narrative, contemplative. Viewer follows linear, curated story — a thought journey and deconstruction of the artwork.
Aurei Montis – Expositio Invisibilis (2025) — sibling ontological loop
Inter Solaris
Inter Solaris — Genealogy — thermally transformed rocks
CONCEPT
The short film Resonare de INTER Solaris builds upon the previous work, Inter Solaris. This was a kinetic sculpture capable of melting and thereby transforming fragments of local rocks in various open-air environments using a focused solar beam. The objective of these Inter Solaris actions was to record a unique moment, which was subsequently inscribed into the rock through the process of melting. In this context, the rock served not only as a medium but also as physical evidence of the site where the action occurred, representing the final artifact of the entire process.
A thought experiment in the form of a computer-generated video guides the viewer through an artificially constructed landscape composed of scans of actual rocks and plants. A voiceover serves as a companion to the pilgrims on this journey, revealing the broader context of the artwork and the narrative’s background. The entire pilgrimage is directed towards a virtual version of the Inter Solaris sculpture. The elaborate construction of the object—which, prior to its physical realization, was meticulously developed both functionally and visually in 3D modeling software—is thus transposed from the physical world back into its original virtual environment. The narrative manipulates the sculpture even further backward, deconstructing the intricately created system back into its individual small parts in a light, effortlessly graceful manner that follows the geometry of its creation, as if in contrast to its complicated birth. This represents a certain culmination of the dynamics of the video narrative and, by extension, the entire project.
