An Artistic Declaration

In Connection to the


Exhibit at Gallery Stalke


March –April 2005



As it is not directly our senses, but our human mind, which is the backbone to our experiences - in my art-transmissions to the spectators - I refer directly to their mind part. In my view, it is very practical to realize at an early age that our complete body is just a complex biological machine, however driven by a higher entity - by the real us - which we sometimes call mind or conscious-ness.


In harsher terms this would make us a “movable thought production facility”, i.e. through our real selves, our mind. It follows that our thougths are the real energy we produce. On one hand, they remain with us and make us what we are and on the other hand, they make up our common “global thought-bubble” in which we operate.


By accepting this definition, every individual would only be interesting in terms of the quality of his/ her thought production. And it follows, that we may now possibly be operating inside a polluted thought-bubble, which would be more serious for us, than any environmental one. In fact, there would be no environmental pollution, if the thought pollution was not there first!   



First by seeing ourselves in these terms, we can also start to take on our own body for a private study, in order to define its talents and handicaps, in respect to our unique mind-us. True, this biological machine is absolutely necessary for the purpose that we have, but on the other hand, it is still not our true selves.


In my art-work, I therefore present “by the way” some alternative realities to the spectator. Something he/ she can relate to and what can give a new thought-impuls into said mind facility of everyone. As a secondary impulse this again can make room for the same approach in the minds of the spectators, therewith presumably making this part of our being become more obvious to us all in the long run. Then we certainly are what we think.


The way of transmission here, are then the aestetic options of said realitites, which can be seen as real, even if still unprooven by the present status of our sciences. When speaking of aesthetics, it is obvious that it cannot have a basis outside the realities that the human mind is cabable of defining. Realities in the plural, then the human mind, even if in charge of a biological machine, is not exclusively fixed to the generally accepted culture, and never will be.


For me as an artist this is an art project that needs some decades for fullfilment.



Einar Thorsteinn

Berlin 1st March 2005






Introducing the


Fivefold Symmetry

All Space Filling




The research effort in 3D geometry behind the Space Fang Space art exhibition, concerns a new definition of so-called fivefold symmetry space or “5S-Space”, one version of a geometrically or mathematically defined space. This has basically to do with one polyhedral form and the system it presents, by its exclusiveness to pack space all by itself in such a way, that no holes or rest volume is left. Therefore the “All Space Filling” definition above. 


In order to understand this better, we can compare this form to the cube, which, as everyone knows, packs fourfold symmetry space, “4S-Space”, in such a way that there are also no holes left. We just have to look ouside our window, at our city or town, to realize this, then our culture uses the cubic form extensively because of this practical aspect.


It follows that the three axis-lines of the cubic form or cubic space that we generally call alternatively: east-west, north-south and up-down, are easy for our brain/ mind facility to understand and consequently to orient ourselve within. This is another great advantage of the 4S-Space definition.


With the FANG and its place in the 5S-Space, this is more complex, however also understandable to us, once we have been introduced to this new definition. But we can also say that these two different polyhedral forms represent two different space realities. And we could even go as far as to theorize that on another planet in the visible universe, there is used this 5S-Space definition and not the cubic one. Then more degrees than just 90°degrees as here with us, become interesting on a general level, and therefore every school “out-there” would have a Degree Box for reference. A Degree Box would be a household word in that reality.  


The packing aspect of both the cube and the FANG makes both of them fractal forms in the sense that when they are either multiplied and added together or cut down into smaller pieces and unpacked, they themselves can be/ are formed again in certain steps.

The FANG works the same way within 5S-Space as the cube does in 4S-Space.

They are the only two known forms that fulfill these two conditions: 1) not only packing space with one form, but 2) reproducing themselves at some steps of the packing/ unpacking process.


But why would this be interesting to us now? Is it not just a mathematical game, anyway?


Well, it so happens that nature uses both the 4S- and 5S-Space systems to build its so-called self-organization forms with, for instance natural crystals. We are well on our way in understanding how the 4S-Space part works, but not so with the 5S-Space one. Now, only 21 years have been spent on this research in the field of Quasi-Crystals with some results but not the final ones. Therefore the FANG definititon of 5S-Space and its eastetical aspects presented by the Space Fang Space exhibition, are very actual part of our present cultural reality.    


Einar Thorsteinn