Daniel Steegmann Mangrané Hologram (Cut leaves), 2021

Daniel Steegmann Mangrané's series of holograms continue the artist's longstanding interest in the relationship between organic and geometric forms.

Akin to a small terrarium or the display cases at a museums of natural history, the holograms create a small tableaux vivant of twigs, geometric shapes and, in some cases, insects. As one peers "into" the depicted space, trying to decipher what one is seeing, the arbitrariness of the distinction made between organic and human-made forms becomes apparent. In a reference to one of the artist's important early filmic works, Phasmides, 2012, the holograms bring together organic materials such as leaves and twigs, at times modified, with geometric shapes made from card board or others that recall organic material. Several works from the series include insects, among them phasmids and praying mantises.

The nature of a hologram, namely that it compels the viewer to move in order to experience the holographic effects fully, lends itself perfectly to this suite of works. The notion of making the waves of light visible (in effect, the process in which holographic images are produced) has been a recurring theme in Steegmann Mangrané's practice, yet it is also the suggestion of movement inherent in the holographic image that here corresponds with the fascination the animal has exerted on humanity: famously mimetic and still, phasmids are generally recognized in nature only when they move. In addition, the spectral or ghostlike aspect of holograms finds a linguistic parallel in the phasmid, as their name is rooted in the Greek word for apparition or ghost: "phantasma"

The use of technology in Steegmann Mangrane's practice always has a deliberate conceptual relevance. Working across many media, the use of digital scans or, in this case, holography draws attention to the influence technology can exert on the understanding of nature. The shifting connotations of certain media becomes an integral part of the work: thus, holography is in many ways an anachronistic medium, invented in 1948, it never fulfilled the high expectations with which it was initially invested.