Mirrors offer a space for self-reflection, yet in The Imperceptible Self, that reflection becomes elusive. This work is a modified mirror integrated into a sound installation: a continuous grinding and scratching emanates from a loudspeaker behind the object, documenting the artist sanding down multiple layers of the mirror surface. The sound and the altered mirror together preserve the process, making the act of transformation perceptible both visually and aurally.
The mirror no longer fulfills its traditional function. Its surface is blurred, allowing only a vague recognition of one’s silhouette. Visitors are invited to reconsider individuality, self-perception, and subjectivity, turning their attention inward as external assessment becomes impossible. The sanded surface and persistent scratching evoke the inexorable passage of time and the fragility of human life, vanity, and identity — all as transient as the mirror itself.
By obscuring self-recognition, the work challenges narcissism and the obsession with self-optimization. It recalls the myth of Narcissus, who fell in love with his own reflection but could never reach it. In a contemporary context, the mirror becomes a metaphor for social media, where private life is presented as transparent, yet only superficial, curated impressions are offered. Mobile phones have increasingly taken on the role of mirrors, their cameras used for self-staging and confirmation of self-image.
The Imperceptible Self confronts viewers with the limitations of physical reflection, urging a deeper engagement with self-awareness beyond appearances. Through sound, material transformation, and distorted reflection, the installation becomes a meditative space — a reminder of impermanence, introspection, and the subtle interplay between self-perception and external perception.
