In Ecce Mundi, the humanoid figures, reduced to form similar to pictograms, conquer the spaces of the ceiling, the floor and the walls of the constructed canvas-wrapped white cube.
The visitor enters this space where first impression is one of a nearly monochromatic empty room, but, walking through the work or getting closer to its walls, one can perceive the rotating multitude of tiny pictograms of people. Each and every one of them appears to rotate freely inside its own space and yet in harmony with others. Together they orchestrate a harmonious society where the rules of coexistence are defined in the spirit of limitless possibilities of individual, who adjust her/his actions and lives her/his space also with respect to others. The forms are alike, but not identical – every pictogram has been hand-drawn.
In a white square (Ecce Mundi) covered in hand-drawn canvases with a multitude of rotating minuscule human-like pictograms, the optical phenomena of the figures’ animated movements is perceivable. Visitors are supposed to walk through the work and the multitude of its barely visible pictograms.
The work questions the image itself, as well as the categories of interactivity, time, space, society and human responsibility.