If magic eye puzzles make you woozy and racing games bring you close to ralphing, you may want to avert your eyes from these mind-bending, illusory installations by artist Peter Kogler. The walls within these creative pieces morph and change, as viewers walk through the space's continuously altering environments. The Austrian-born artist is known for his extensive work with illusory pieces, employing classic trick-of-the-eye techniques.
Taking the work of such manipulators of perception as the legendary M.C. Escher to the next level, Kogler creates shape-shifting spaces that viewers can walk among and experience first hand. Often utilizing ingenious geometric projections, Peter Kogler creates melting walls, spectacular light shows and bizarre environments that are not for art lovers plagued with weak stomachs.
Sure to inspire awe and the occasional wave of nausea, Peter Kogler's pieces beg to be experienced first hand.
Shape-Shifting Installations
Peter Kogler Creates Interactive Art That Plays with Perception
Trend Themes
1. Immersive Art - Peter Kogler's shape-shifting installations create immersive art experiences that offer disruptive innovation opportunities for the art and entertainment industries.
2. Augmented Reality - Peter Kogler's installations offer a form of augmented reality that can be used to revolutionize the retail industry and marketing strategies.
3. Spatial Design - Peter Kogler's shape-shifting installations offer new possibilities for spatial design in architecture and interior design.
Industry Implications
1. Art - Peter Kogler's shape-shifting installations challenge traditional approaches to art and offer new possibilities for artists and curators.
2. Entertainment - Peter Kogler's immersive installations present disruptive innovation opportunities for the entertainment industry, including virtual reality and augmented reality experiences.
3. Retail - Peter Kogler's installations provide a new form of immersive retail experiences for customers that challenge traditional notions of shopping.