Localisation: in front of KD Slavie – Zátkovo nábřeží
The sculpture “Anuloid” stands on a simple black metal structure. The whole object is close in height to an adult person. The actual part of the sculpture is at the eye level of the audience. The base has the shape of a tall, open, cubic frame. It is made of four narrow legs connected at the top by a flat tabletop and at the bottom by a rectangular frame. The structure is restrained, technical and matt, and clearly contrasts with the main part of the sculpture.
In the centre of the tabletop there is a short metal pin. It is set vertically and screwed to the base with a round plate with screws. The main form of the sculpture is mounted on this pin: a large silver ring with a very smooth, polished surface.
The ring has the shape of a torus, that is, a solid similar to a tyre or a bagel. It is large, massive and rounded. Its outer outline forms a perfect circle. In the centre there is a round opening through which one can see the space on the other side of the sculpture. The opening is large. It takes up a large part of the object, but does not dominate over the massive rim. The diameter of the opening is similar to the thickness of the silver rim on both sides.
The upper part of the ring is slightly tilted backwards. The surface of the sculpture is completely smooth and reflective. No texture of the material, seams or traces of hand modelling can be seen on it. It is a mirror-like surface: bright, cool, silvery, in places almost white from the sunlight, in places darker and coloured by the reflections on its surface.
The most important feature of this form is the distorted reflection. The silver rim acts like a convex, curved mirror. Everything in front of it is stretched, bent and wrapped around the opening. Straight lines in the reflection become arcs. Vertical shapes bend, narrow or widen. The image on the surface forms wavy bands that run along the curve of the ring.
The inner edge of the opening is also mirror-like. It creates a smooth, rounded tunnel whose edges wrap the reflections inwards. As a result, the opening does not look like a flat hole cut in sheet metal, but gains depth. The transition from the outer surface to the inside of the opening is soft and fluid.
Ultimately, how the object presents itself depends on the perspective from which the audience looks at it. The object takes on lines and colours according to what is reflected on its surface. As the viewer walks around the sculpture, the arrangement of reflections shifts and changes. The surface of the sculpture comes alive and changes.