Elizabeth Zoe Knass

Elizabeth Zoe Knass

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Y-Space 2010

A maze is created from only two clips, a left turn and a right turn through a Y-shaped passage covered in mirrors. Unlike an actual mirror maze, there is no reflection of the viewer. Instead, the path appears to fork through a vast crystalline room whose walls recede to infinity - an image of the probability space through which the camera wanders. As the random editing program chooses left or right turns, one can imagine the untaken paths as a virtual, fractal tree.
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Blue Snowballs 2010

A virtual camera coils through an endless chain of orange dodecahedra filled with music and pale blue snow. The camera floats from one facet to another, connecting eleven blizzard-filled volumes in unpredictable groupings. Unlike the cubes that make up PLEX, chains of dodecahedra do not form loops, so in BLUE SNOWBALLS, two or more spaces will never be superimposed.
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Plex 2010

Movie theaters are temples that have morphed into labyrinths, architectural fractals leading from the actual to the virtual. These multiplexes steer a diverse public through branching hallways to imaginary worlds, where the labyrinth shatters into glowing handheld screens. Designed as a movie for phones, PLEX is an architectural model of an endless cinema, made from a set of twenty black cube interiors filled with colored screens and artificial lobby music. A spiraling camera path connects the cube units into a free-form structure that occasionally loops back on itself, creating intersections of cascading screens. An external view would reveal a chain of cubes endlessly exploring a 3D grid of possibilities. The cubes play like wind chimes, blown by chance.