Saken Narynov (Kazakhstan)
"In Time and Space"
Saken Narynov is a well-known Kazakhstan artist and architect who works in the genre of imposibilism, characterized by the idea that the external side of the object is the internal one as well. He is a master of the interpretation of the paradoxes of Space and Time – the transition of a topological space into a Euclidean one, a return to the original state from which a continuum develops. Naryn was in correspondence with one of Einstein's disciples, and, in his opinion, the universe has a non-Euclidean space form. According to one of the astrophysical theories, time is not an abstract magnitude, but has direction and energy. Time is material, it carries energy at a speed greater than the speed of light, time can interfere with events, energize them or, on the contrary, drain them of energy. In this work, the straight lines, as they go far out into the space, become curved – concave or arched, depending on the speed of movement or interaction with other giant bodies. That is, the Euclidean space transforms into a topological one, and vice versa. The "tapes" formed by cellular structures do not intersect, one never transforms into another. But there is a lot of evidence that in the continua represented by such a model, peculiar portals of an unexplained nature can be opened, allowing the inhabitants of parallel worlds to perform mutual space-time transitions.
"Magic of Energy"
The work is a spherical object whose end parts turn into a plane connecting them. The work resembles a seashell, which is the reason it has been given a poetic name. An attentive viewer will see that this object is a variation on the "Mobius tape," unexpectedly presented both as a volume and as a plane. In the zones of the transition of internal spaces into the outer surface, the turning points in Space and Time are created, certain singularities and illusory boundaries on a surface with practically no boundaries. In this sense, the work contains infinity, where energy flows never stop, but move along continuous routes, both inside and outside the object. And this once again reminds the viewer that all the processes, which are inherently infinite, have some cyclicity – depending on when and at which point the observer decides to explore them.