INSIDE, INSIDE-INSIDE, OUTSIDE-INSIDE, OUTSIDE-OUTSIDE, OUTSIDE (2025)
Site specific installation.
Mixed media with recorded and live image and sound.
The gallery becomes a point of observation—a space to sit, listen, and watch. But rather than centering the viewer, everything inside the space is pointing to the outside. Interior perception is conditioned by external presence. The forest enters the gallery. Reflections blur the boundary between inside and outside. The only time being inside is from the outside-inside space.
The work moves around cycles, continuity, options, duality, one fragment multiplied. presence. There’s a sense of structure, but it stays open—more suggestion than system. Time is understood less like a straight line, more like stages overlapping—looping, returning, unfolding. A shifting sequence.
Uus Rada Gallery
live and recorded Video
amplified sound of the space
NORA SCHMELTER
INSIDE, INSIDE-INSIDE, OUTSIDE-INSIDE, OUTSIDE-OUTSIDE, OUTSIDE (2025)
Site specific installation.
Mixed media with recorded and live image and sound.
The gallery becomes a point of observation—a space to sit, listen, and watch. But rather than centering the viewer, everything inside the space is pointing to the outside. Interior perception is conditioned by external presence. The forest enters the gallery. Reflections blur the boundary between inside and outside. The only time being inside is from the outside-inside space.
The work moves around cycles, continuity, options, duality, one fragment multiplied. presence. There’s a sense of structure, but it stays open—more suggestion than system. Time is understood less like a straight line, more like stages overlapping—looping, returning, unfolding. A shifting sequence.
Uus Rada Gallery
live and recorded Video
amplified sound of the space