Cell No. 3 (Prototype) 1992

Curator: Here we have Absalon’s "Cell No. 3 (Prototype)", created in 1992. What’s grabbing you about it? Editor: It feels strangely... habitable? Like some sort of ultra-minimalist fortress of solitude. The stark white and the severe geometry definitely give it a clinical, almost futuristic vibe. Curator: Precisely. Absalon's "Cells" are fascinating in their exploration of personal space and confinement. The artist conceived these as prototypes for actual living spaces—minimal, self-contained units meant to address the chaos of urban life. Editor: So, they were designed for someone to *live* in? That throws the whole thing into a new light. The geometry suddenly feels less abstract and more… deterministic, as if the inhabitant is entirely subordinate to the structure itself. Do you see what I mean? Curator: I think so. Think of it as an attempt to redefine basic living parameters. The artist even specified where he’d eat, sleep, and perform ablutions within the cells. By dictating a specific way of life through these hard, architectural forms, Absalon aimed to create almost an environment of discipline or a frame that sets your day in advance. Editor: It's captivating and unsettling, this imposed order on life. The all-white color scheme—it's almost blinding. Does this reinforce or negate freedom in these structures, I wonder. Also, look at the fabrication; you’d think metal but it is a coating over the core structure which consists of basic plastics and resins. What feelings did that insight conjure in you? Curator: The stark materiality certainly enhances the feeling of separation, perhaps even alienation. Editor: Alienation! Yes. It’s incredibly efficient. The forms push away rather than invite and there are so few elements within this small volume. I can admire the form, but the premise scares me. Curator: That tension is key, I believe. These aren't utopian fantasies; they present a difficult, challenging vision of how we might exist in the world. It offers a commentary on our society’s patterns if nothing else. Editor: Yes. This work certainly delivers so much even with its limited language. Curator: The severe aesthetic, the pre-packaged life it all makes for some very difficult considerations about what sort of compromise might be coming, sometime soon. Thank you. Editor: It makes one grateful for a little creative disarray. I am certain there will never be a spot for me inside. Bye.