This fragile construction with its subtle equilibrium combines graphic elements with a sense of volume, blending the visible and the invisible, heaviness and lightness.

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"There is a certain kind of rock, called magnetic, which leaves all other materials unmoved and attracts only iron. Sometimes it is also displayed floating freely, suspended by the concealed force above (…)"
Theodoret of Cyrrhus, 393-465 A.D

Extending diagonally over a three-storey light well, the installation spans half its height, constantly offering new perspectives on the work from above, below and from all sides.
The initial impression is of simple rigorous geometric forms. With the materials reduced to the bare minimum, the lines and flat surfaces (cables and magnets) compose a double pyramid set at a 45° angle. The bases of the pyramids are formed by a square frame with four magnets at the vertices.

Only when you look closer do you realise that the hanging structure actually cannot be suspended: a gap just a hand-span wide separates the pyramids. The lower of the two - made up of four magnetic planes tethered in position like small kites - stands on its apex, free and inviolate within this space. Although the two geometric forms do not touch, the strong magnetic field exerted by the upper section holds the lower pyramid in place. The magnets are clearly visible. They strain towards each other, prevented from smashing together only by the cables holding them - which do not disrupt this tug of attraction, but merely hold it in check.

The red rigging lines secure this fragile connection. If the configuration were to collapse, they would catch the suspended magnets in free fall. The colour and loose forms of these lines serve as a foil to the installation's clearly structured steel components, perhaps triggering that decisive "closer look" at the empty space between the pyramids.