Margarida Sardinha
Hyperbolic Curves uses elements of hyperbolic geometry, which was developed independently by Lobachevsky and Bolyai and it models spaces analogous to Euclidean space, but such that the Euclid’s parallel postulate is no longer assumed to hold as true. It deconstructs a cube on the sphere surface for they are homeomorphic in a liminocentric way, thus, they may be transformed into each other akin to recursive definitions in hyperbolic spaces.
Hyperbolic Hyparxis is interconnected with the supersymmetric model of Calabi-Yau manifolds and conveys the symbolism of geometric sacred structures as shadows of liminocentric or fractal images contemporarily developed through multiverses using a stream of multiple hyperbolic optical illusions structured as a rhizomatic polyhedral system (hyparxis). These polyhedra are deconstructed into seemingly Calabi-Yau manifolds, which are described in certain branches of mathematics such as algebraic geometry. The Calabi-Yau manifolds’ properties, such as Ricci flatness, also yield applications in theoretical physics. Particularly in superstring theory, the extra dimensions of spacetime are sometimes thought to take the form of a 6-dimensional Calabi-Yau manifold, which led to the idea of mirror symmetry amongst these types of spaces.
Loop Hyperbolic Polyhedra is based on the self-referential duality of Hyperbolic Polyhedra documentation – four large-scale double sculptures that reveal the primary geometric progression from the Triangle to the Hexagon passing through the Square and the Pentagon, which respectively give rise to the Tetrahedron, Cube, Dodecahedron and Truncated Tetrahedron in three dimensions. Thus, the work is defined as a Log, or digital meta-documentation, describing a Loop cycle revealing both complementary sides of each sculpture and the geometrical relationship between the four polygons in animated sequences of multiple angles of these double sculptures. This automated looped meta-documentation is due to both sides of each documented work transmitting a concave and convex duality as being two internally consistent worlds that when juxtaposed produce a completely inconsistent or paradoxical composite world.
BIO
Margarida Sardinha (Portugal) is an independent artist & director born in Lisbon, Portugal, in 1978, who studied, lived and worked in London for ten years. She attended Fine Art Combined Media studies at Central Saint Martins and at Chelsea College of Art and Design. Her cross-media practice comprises site-specific installation, experimental film, animation and digital photography. Its main focus is the production of geometrical optical illusions a propos the spiritual in art, thus, making concept parallels within literature, philosophy, comparative religion, science, film and art. She has had five major solo shows at: Science University of Lisbon, Aga Khan’s Ismaili Centre of Lisbon, Carousel-London, Ericeira’s Cultural Centre and Fernando Pessoa’s Museum in Lisbon. Her experimental films were official selection of over thirty film festivals worldwide and she was Winner of Best Cinematic Vision by London Film Awards, she also won Best Experimental Film at the Hollywood Reel Independent Film Festival and at five more international festivals.
