Daniel Martin incites the spectator to question our perception and reality with the exhibition; The Garden of Cyrus.
The Garden of Cyrus opens with a double premiere in Beers London Gallery and the Museum of Contemporary Art of Queretaro. The exhibition is a virtual show with digital art that can be realized on demand. The collector becomes an active collaborator in order to welcome the non-existing digital art in our physical reality.
WELCOME TO THE GARDEN OF CYRUS
"I dare to say the exhibition is real. It is just as real as a story in a book, or a dream you had. It is just as real as love, anger, or any other mental state we have that materializes through our actions and thoughts. The Garden of Cyrus is not physical yet, and maybe it does not need to be in order to be ‘real’ and have impact. In my mind I can touch the sculptures, feel them and sense the effect they have on me." - Daniel Martin -
The Garden of Cyrus is an virtual online exhibition shown in Beers London Gallery with digital art that is yet to be made.
The garden of cyrus is questioning our reality and how it can get distorted by our perception. By using photorealistic imagery and video of non-existing artwork the Garden of Cyrus is spread online making the visitor believe the exhibition is real and taking place in the MACQ museum and Beers London.
The exhibition is simultaneously launched in the Museum of Contemporary Art of Queretaro (MACQ), Mexico. The museum is showing sculpture installations connected to the work shown in Beers London Gallery.
The Garden of Cyrus is based on a hermetic text by Sir Thomas Brown which touches upon a pattern revolving around the number five. It was the starting point for the exhibition in which only five colors and five layers based on 17th century garden designs were used to build up the sculpture installations and the collages. By multiplication, scaling, rotation and change of order in the used colors and designs, new forms arose. Daniel was inspired by the natural process of emergence, most easily explained as; The whole is greater than the sum of its parts.
The Garden of Cyrus evokes a feeling of serenity with hints of architectural designs and religious symbolism. A contradiction is created between hard geometrical shapes of the objects, and the childish squiggly lines that are used to trace the layers of the 17th century garden designs including one of the Louvre. The exhibition is a paradox aesthetically and in its concept, where the exhibition appears to be real but can not be found in our physical reality as of yet.