Door handles designed for Kunsthal Ghent.
The gold-plated handles hanging on the two glass doors of the Luxor hotel formed the shape of a pyramid in conspicuous reference to the exuberant building. The handles, like the architecture as a whole, thus functioned as recognisable signs announcing the identity of the casino one was about to enter or exit. While the handle was made as visible as possible in an obvious attempt to lure visitors in, the glass door disappeared, removing the barrier between inside and outside in a transparent yet persuasive gesture.
Two brass serpents on the doors of the Roberto Cavalli store levitated on either side of the glass, half of their bodies inside, the other half outside, frozen in mirrored positions. Both called to the window shopper assertively, demanding to be grabbed. It looked as though the animals had crawled on to the doors from the outside and been incorporated into the complete form as an afterthought.
The two snakes slithered their way up to the entrance of the church only to be stopped by a set of glass doors. Awkwardly, they started rubbing their bodies against the smooth surface. Knocking their heads like two hammers against the glass, they at last succeeded in creating four apertures. The two lines moved along the invisible plane, seemingly drawing letters in space.
Kaa, the friend or the enemy.
The bright reflection of Hydra or Hydrus in the water on a starry night.
The trickster reptile stealing the cherished plant from Gilgamesh?
The door is opened, inch by inch, as if by an invisible hand.