This work entitled “Billiard Balls Moving on a Billiard Table According to the Floor Plans of the Space in Which They Are Exhibited” analyzes the relationship of a representation, which is normally considered as being limited with a frame, with the space in which it is exhibited. This work creates its own form by taking its data from the physical space in which the image is shown. Accordingly, when the space in which the work is exhibited changes, the work produces its new variations depending on the changing data of the space. Although the motion of the billiard balls in the moving image seems artificial, the orbits followed by the balls are actually mapped with the floor plans of the physical space in which a realistic computer simulation describing the motion is shown. Those who are watching the movements of the balls in the seen work look at a certain part of the architectural relations of the space where the image and the audience are located. In other words, the work makes the context, in which it exists, the topic of the work.
A device that records an image (virtual camera) has to position itself outside the image and cannot represent itself completely in the image. However, the device is inside the space that is responsible for the formation of the recorded image. Similarly, the audience observes the image inside this space but cannot observe that it observes the image that it observes. However, it can recognize this blind spot of perception, namely, it can derive that the image that it cannot observe is inside the space represented by the image.