Björn Schülke is interested in the historical aspect of moving images and the relationship between cinematographic images and kinetic sculpture. In “Deception” a partial image is available on alternate sides of a thaumatrope. Movement of viewers in the gallery trigger the thaumatrope to rotate and the partial images are consequently integrated into an illusion of a message.

Over the last one hundred years cinema technology has been developed almost to the point of perfection. Viewers no longer recognise that the motion-sequence is merely a series of individual momentary images projected in rapid succession. Whether using film or video it is the slowness of the eye that generates a flowing movement for the viewer. It is the inability of the human eye to recognise motion-sequences projected in rapid succession as individual images that enables us to read the word “Deception” in this object.