Traces of Geodesics offers a visual interpretation of the artist’s journey along one of Cyprus’ famous roads, part of the historic trade route network of the Mediterranean and the Levant. This is documented with a 360° camera and transformed into an installation of 10 spheres featuring spherical photographs—unique images that capture 360 degrees horizontally and 180° vertically, creating a complete spherical view.

This installation deconstructs a photo book, or, more broadly, a codex. While a traditional photo book translates a single frame of a camera (used to create a particular mapping of reality), it ontologically struggles with a representation of an immersive experience of the image produced by a 360° camera and the viewer’s perception of moving through time and space. 

The traditional frame isolates the subject, enforcing a linear narrative. In contrast, the spherical representation disrupts this linearity, creating a multi-faceted experience that allows multiple narratives to coexist simultaneously.

The process’s topological inversion questions non-Euclidean geometry and the concept of geodesics; it also highlights current discourses surrounding virtuality and reality/realism. It raises questions about perception and representation. Flipping the landscape inside out challenges conventional notions of the viewer’s relationship with space. As Merleau-Ponty suggests, perception is inherently embodied; presenting the landscape in this manner invites viewers to experience the environment as interiority.