Antimatter³ In the Negative Zone, 2003

Instalation. 32 DMX modules (birch wood, plexiglas light tubes and electronic system – each 50.8 x 50.8 x 50.8 cm), metal platform in two parts (each 203 x 80 cm; variable heights), Genelec sound system (4 powered speakers, 1 subwoofer, 6 channel mixing desk), 203.2 x 406.4 x 50.8 cm

Antimatter³ In the Negative Zone, 2003

Photo: Carsten Eisfeld Courtesy: the artist and Galerie Eva Presenhuber, Zürich

Angela Bulloch materializes pixels in order to create sculptural compositions that are often inspired by sequences drawn from seminal feature films. The base element is a cube-like wooden box with a translucent face, which houses a set of three colour tubes and a processor, in order to generate colours with the same code that produces images on our screens, otherwise known as RGB (Red, Green, Blue). Pixelization—a process by which the lower definition of a computer-generated image distorts the original—is at the core of her “pixel paintings”.

In this instance, the large-scale screen-sculpture is composed of 32 pixels that render a sequence of Ang Lee’s film The Ice Storm (1997), a dark and psychologically-probing portrait of a family in the 1970s. However this information is ensconced in what appears like a light composition, with a new soundtrack: it is undecipherable as such, and takes on a whole new meaning.

Courtesy: Collection, Paris; Esther Schipper, Berlin


Canada, 1966. Lives in Berlin

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