At first, the object is a sculpture. It is self-containing and closed. It appears to foreshadow the possibility for a purpose. It suggests function, but keeps it as a secret.
The sculpture can be used and becomes a machine: a music instrument and a kinetic object. Whoever enters its interior, finds oneself surrounded by about 300kg of steel, zinc, and copper. The object balances out the difference between shelter and prison; feeling of security and discomfort might alternate from one moment to the next.
Besides that, “Sphere 12/16” broaches the issue of two other opposite pairs which are also perceivable by the external viewer: On the one hand, it contains the dialectic of music, which consists of composition, control, beats and staves, as well as of the complementary part, the “melos”, this primal mind-blowing into the depths of ecstasy, into self-oblivion. This contrast is given by the two modi operandi in which the sphere can be used – as a controllable music instrument, statically placed on the floor, or as a tossing colossus, which can’t be played any more, but rather plays itself and drags away the player who is inside. And then there has to be mentioned the dialectic of mathematics, which is uniquely elegant and idealistic when describing forms, which maybe even invented the perfect shapes such as circles and spheres, but which is, at the same time, when watched more closely, approximative when calculating the circle or the sphere, using either iteration algorithms (geometrical step-by-step approximation to the curve’s shape) or using Pi, which can never be expressed precisely, as it is an irrational number. The fact that “Sphere 12/16” appears so elegant just because of approximating the sphere using hundreds of unbent steel rods is a reference to the aforementioned dialectic of mathematics.
The builder is only thinker of these thoughts and has materialized them in steel and electronics. He has carried out the construction just like a craftsman. Neither is he performance artist nor musician. In this respect, all performances in which for once the builder himself is the player, are to be regarded as an example. They just shed light on the potentialities of the object.