Inspired by the first pyramid at Sqqara, I have created, as a notion of artwork, a physically changeable empty wooden frame (Fig. 4 and 7). This modular installation form is made up of 25 non-identical sized wood frames. It may function as – and can be observed – as a formalistic shape, or as an object by itself. Yet, at the same time, it also refers to a system structure, which is capable of carrying other related art mediums and/or objects on top of or inside it (Mumfords 1967, Casson 1971, pierre udan 2006).
My Master thesis research can be understood as one structure, divided into three parts that complete each other. The first is my theoretical research; the second is an artistic practice, based on reflective methodology and the last combines these research layers into a single pyramid structure. In my study, I use two research methods. The first method explores the creation of new ways to experience artwork from different viewpoints, via my changing pyramid structure experiment. The second method is that of expert interviews. I have interviewed two artists, Maria Josefa Lichtsteiner and Klodin Erb, regarding their working experience as assistants for Sol LeWitt. I likewise interviewed the art historian and curator Dr. Josef Helfenstein, director at the Basel Kunstmuseum – who curated the Sam Gilliam exhibition The Music of Color 1967 — 1973 at the museum in 2018 – and the art historian and art critic Prof. Dr. Sabeth Buchmann, author of Denken gegen das Denken. (Buchmann 2007, P. Binstock and Helfenstein 2018).
In Experiment number four, e.g., I decided to place my paintings atop the floors of the pyramid (Figs. 21, 30 and 34). By hanging the four paintings at curved angles on the steps of the pyramid, I created a new display. (Richter and Bianchi 2007, Fried 1998, O’Doherty 1976, Krauss 1986).
Finally, I think art has the quality of investigating new forms and challenging the spectator’s experiences.