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A series of glowing neon white squares create a tunnel effect in a dark, derelict industrial space. The installation is set against peeling green walls and a high, beamed ceiling.

Check out Kit Webster's atmospheric exploration of sound and light

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Date
29 August 2014

Australian artist Kit Webster is has long been fascinated with the emotional and psychological tricks he can play through the manipulation of sound and light. His new piece Hypercube is a concentric cubic sculpture with a 120-metre LED set-up that can be controlled using specially-created software. The pre-recorded cycles allow Kit to control the viewer’s experience, speeding the cube up to a frenzy and breaking the tension with meditative moments of calm.

Kit explains that he likes the combination of a simple sculptural form with the high-tech effects he is able to conjure up through Hypercube. "Its minimalistic structure is designed to elicit a sense of strength, balance and simplicity yet plays host to (and becomes juxtaposed by) a range of intricate choreographies,” he says.

A glowing neon sculpture of interlocking white squares stands in the centre of a derelict industrial room. The installation casts a bright light against the peeling green paint and weathered walls of the space.
Above

Kit Webster: Hypercube

A series of glowing white neon cubes nested inside one another in a dark, derelict industrial space. The installation stands on thin metal legs against peeling green walls and a vaulted ceiling.
Above

Kit Webster: Hypercube

A sculpture of nested glowing blue cubes creates a tunnel effect in a dark, industrial room. The light reflects off the weathered walls and ceiling of the warehouse space.
Above

Kit Webster: Hypercube

A series of glowing white LED cubes nested inside one another, creating a tunnel effect. The sculpture sits in a dark, derelict room with peeling green paint on the walls.
Above

Kit Webster: Hypercube

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About the Author

Rob Alderson

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Rob Alderson is a freelance writer, editor and strategist. He was previously editor-in-chief of It’s Nice That and WePresent, and editor of Design Week. He publishes the newsletter Undo, which tries to make sense of how AI is changing design work, the design process and the design industry.

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