By Yasmijn Jarram

Alexa Meyerman’s transparent, extremely fine photo objects can be seen as deconstructions. After all, all her models are derelict or at least have been temporarily abandoned; only showing traces of a human presence. These hologram-like buildings have been deconstructed like dreams and memories: certain details are emphasized, others have started to fade away or have completely disappeared.

Notions of ‘inner’ and ‘outer’ become interchangeable because of the transparent nature of the work. The visitor can look through the objects, or walk around them, so it seems as if the buildings are changing shape. Depending on their own perspective and where the light comes from the entrances, exits and rooms appear and disappear. These abstract buildings are constantly changing which makes us want to take a closer look in an attempt to get a grip on them. However, in the end these empty constructions only turn out to consist of light and darkness. Nobody can hide in them.

A remarkable symbiosis between three-dimensional work and time has developed due to Alexa Meyerman’s background in classical music. Time is an essential element in music. These architectural constructions can not be pinned down to a certain place but they move through space as if they are weightless. As these objects change shape depending on the different perspectives of the spectator, the element of time is added to architecture which is otherwise static. The titles of the artworks, indications of time that are very specific as well as completely arbitrary, are linked to this musical background. Apart from these models, Alexa Meyerman also makes video art.