Mind-Bending Mirrors Emerge in Qatar’s Desert – Discover the Reasons Behind Their Appearance

In the Qatari desert, amidst rolling sand dunes and dramatic limestone cliffs, an extraordinary art installation has emerged, adding to the unique landscape. Located about an hour’s drive north of colossal monolithic sculptures by U.S. artist Richard Serra, these new structures are the creation of Olafur Eliasson, an Icelandic-Danish artist celebrated for his exploration of humanity’s connection to nature.

Titled “Shadows Travelling on the Sea of the Day,” Eliasson’s artwork was installed in northwestern Qatar in 2022. Consisting of 20 large circular shelters, three single rings, and two double rings, the installation follows a fivefold symmetrical pattern. These free-standing rings and silvered-glass mirrors, when observed up close, exhibit both grandiosity and harmony with the infinite horizon.

The mirror ceilings playfully blur the boundaries between the sandy ground and the vast sky, creating an ever-changing panorama as sunlight and shadows interact within the pavilion. Eliasson, who resides in Copenhagen and Berlin, was drawn to this remote corner of Qatar due to its surprising similarities to the windswept landscapes of his family’s Icelandic roots.

Despite the apparent barrenness of the desert, Eliasson discovered its hidden life, paralleling his documentation of repeating patterns in Iceland’s rivers, caves, and hiking shelters. This unique perspective led him away from Doha’s gleaming skyscrapers to appreciate the environmental and geological history of the land.

The installation is strategically located in a secluded area, requiring a drive through the rugged desert northwards from Doha. Eliasson acknowledges that visiting the artwork demands effort, but he believes the experience of reaching it adds value to the encounter.

Designed to draw people in and encourage contemplation, the structures invite visitors to perceive the seemingly empty and everyday desert landscape anew. Eliasson believes that the mirrors and structure offer a fresh relationship with the ground, encouraging individuals to appreciate the Earth beneath their feet.

The mirrored undersides of the circular shelters and free-standing rings shimmer on the horizon from a distance, while up close, the mirrors reflect the half-pipes, creating a captivating environment that envelops observers. The mirrors not only reflect the land and the viewers within the landscape but also amplify human movements, creating an immersive experience.

Eliasson suggests waving a foot or arm beneath the mirrors for a reality check, emphasizing the connectedness to the ground. The artwork prompts an oscillation of perspective, transitioning between a first-person and a destabilizing third-person view of oneself. This dynamic experience, combined with the movement of the body, amplifies the sense of presence while the curving structures integrate seamlessly into the surroundings.

The artist intends for his work to disrupt conventional perceptions of time, offering a unique way to contemplate the passing of time. Eliasson sees “Shadows Travelling on the Sea of the Day” as an invitation for reflection on rebuilding relationships with the planet, creating new narratives for transitioning to alternative ways of living and caring for Earth.

In contrast to the urgency of climate activism, Eliasson views art as a slow and circuitous medium that can foster reflection and imagination. He believes that his artwork provides embodied experiences and space for self-reflection, contributing to a shared dialogue across communities and cultures in the pursuit of addressing the climate crisis.