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Haroon Mirza

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Open a larger version of the following image in a popup: Haroon Mirza, The Chromatic Energy of Bear Market Potential (LED Circuit Composition 35), 2025
Open a larger version of the following image in a popup: Haroon Mirza, The Chromatic Energy of Bear Market Potential (LED Circuit Composition 35), 2025
Open a larger version of the following image in a popup: Haroon Mirza, The Chromatic Energy of Bear Market Potential (LED Circuit Composition 35), 2025
Open a larger version of the following image in a popup: Haroon Mirza, The Chromatic Energy of Bear Market Potential (LED Circuit Composition 35), 2025
Open a larger version of the following image in a popup: Haroon Mirza, The Chromatic Energy of Bear Market Potential (LED Circuit Composition 35), 2025

Haroon Mirza

The Chromatic Energy of Bear Market Potential (LED Circuit Composition 35), 2025
Aluminum, aluminum tape, COB LED tape, electrical wire, magnet wire and meteorite stone
57 x 57 cm
22 1/2 x 22 1/2 inches
Copyright The Artist
Photo: Dirk Tacke

Weitere Abbildungen

  • (View a larger image of thumbnail 1 ) Haroon Mirza, Illuminated Revelations in a Cave (Solar Cell Circuit Composition 29), 2023
  • (View a larger image of thumbnail 2 ) Haroon Mirza, Illuminated Revelations in a Cave (Solar Cell Circuit Composition 29), 2023
  • (View a larger image of thumbnail 3 ) Haroon Mirza, Illuminated Revelations in a Cave (Solar Cell Circuit Composition 29), 2023
  • (View a larger image of thumbnail 4 ) Haroon Mirza, Illuminated Revelations in a Cave (Solar Cell Circuit Composition 29), 2023
  • (View a larger image of thumbnail 5 ) Haroon Mirza, Illuminated Revelations in a Cave (Solar Cell Circuit Composition 29), 2023
„The Chromatic Energy of Bear Market Potential (LED Circuit Composition 35)“ (2025) ist eine Lichtinstallation, in der Aluminiumprofile in einem rechten Winkel zueinander angeordnet sind und entlang derer ein roter,...
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„The Chromatic Energy of Bear Market Potential (LED Circuit Composition 35)“ (2025) ist eine Lichtinstallation, in der Aluminiumprofile in einem rechten Winkel zueinander angeordnet sind und entlang derer ein roter, ein grüner und ein blauer LED-Streifen angebracht sind. Deren elektromagnetische Wellen mischen sich zur Winkelmitte hin zu einem neutralen weißen Licht, das sich strahlenförmig ausbreitet. Die jeweiligen Längen der LED-Streifen sind durch ihre Strahlkraft bzw. die Intensität der RGB-Farben zueinander definiert und in Proportion gesetzt.
Auf dem waagrechten Profil liegt ein Meteorit, der die kosmische Stimmung des Werks intensiviert und auf Mirzas Auseinandersetzung und Verwebung von Technologie, Kosmos und Spiritualiät verweist. Unter Verwendung reduzierter, geometrischer Formen, die durch die Verbindungen der einzelnen LED-Streifen mit Kabeln und Kupferband entstehen, untersucht Mirza die Präsenz von Licht und dessen Interaktion mit der Struktur des Raumes. Der Künstler reduziert die Linienzeichnung auf Elektrizität und den RGB-Farbraum und bezieht sich dabei auf Werke der Minimal Art aus den 1960er Jahren, wie die Lichtarbeiten Dan Flavins oder Fred Sandbacks geometrische Raumskulpturen aus Schnüren. Mirza nutzt in seinen Werken Elektrizität in Form von Licht, um Verbindungen des menschlichen Daseins zu thematisieren: „I use electricity as a medium (which can be rationalised as waves), which in simple terms is reality – or more particularly, our conscious relationship to existence.“


“The Chromatic Energy of Bear Market Potential (LED Circuit Composition 35)” (2025) is a light installation in which aluminum profiles are arranged perpendicularly, with LED strips in red, green, and blue mounted along them. The electromagnetic waves of these strips blend into a neutral white light towards the center of the right angle, radiating in beams. The respective lengths of the LED strips are defined by their luminous intensity or the relative strength of the RGB colors and are proportionally related.
A meteorite rests on the horizontal profile, intensifying the cosmic atmosphere of the work and referencing Mirza’s engagement with the intertwining of technology, cosmos, and spirituality. Through reduced geometric forms created by joining the individual LED strips with wires and copper tape, Mirza explores the presence of light and its interaction with the spatial structure. By reducing the line drawing to electricity and the RGB color space, the artist refers to Minimal Art of the 1960s, such as Dan Flavin’s light works or Fred Sandback’s geometric spatial sculptures made of string. In his work, Mirza uses electricity in the form of light to address connections in human existence: “I use electricity as a medium (which can be rationalised as waves), which in simple terms is reality – or more particularly, our conscious relationship to existence.”
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