"White Light inside the White Cube" is a non-masterplanned filmed anti-performance mediating the sacred nature of a gallery space. The sequence was created during Art Licks Weekend.


The morph-suit cReature is linked to the very first "The cReature Film" and continues raising questions of no identity and erased personality.


As an immersive installation, "White Light/White Cube" manifests an anti-political condition of no borders and no control.


In the further iterations of "Anti-Gravity Reality: Inside the Black Cube or Brain AI" "The cReature" is 3D-scanned and 3-D printed. It becomes an embodiment of a participant into VR. When a participant is turned into the artist.

Photo Documentation by Thomas Erskine

participant Peter Tennyson:


"Would highly recommend this fascinating exhibition of the work of the very thought-provoking artist Uli Ap.

Uli mixes virtual reality, and film and to explore our relationship to space and architectural constructs.

Her latest piece, a work that combines a physical wall of moving cylinders with a virtual reality headset where you literally build a 'virtual room' while wired up to sensors where 'emotion detectors' control how you shape the construct, literally has to be experienced to be appreciated!"



participant Gergana Mesalska: "I'm robbed off my anxieties. You can't ask for more. It is a very therapeutic machine. It makes the world happier place to love in."


"Human anxiety translates into VR environment to be used by AI to build a space that brain activity is captured to remain. One might find the experience as a process of wiping up/draining/depleting negative brain build ups. Thank you #UlianaApatina #ambika #londonfestivalofarchitecture."


Uli Ap: "I am a trans-disciplinary artist working at the intersection of art, science, technology, architecture and journalism. My artistic practice explores a cross-reality zone between virtual, physical, and mental spaces and investigates a contemporary condition of being a post-human.


Projects I create are based within and inspired by various communities. This mode of operation reflects in the site-specific nature of my immersive interactive disorienting installations."



"The latest example of my immersion into a scientific community is Anti-Gravity Reality: Inside the Black Cube or Brain AI – a cross-disciplinary encounter between Virtual Reality, Artificial Intelligence, Neuroscience, and Robotics. This project pioneers new technology enabling data from the emotional response to construct spaces in both digital and physical domains. It also revolutionizes haptic feedback in VR by providing it through unexpected force and resistance of physical space itself, rather than through gloves, body-suits, or exoskeletons. Audiences are turned performers in a performative space that they themselves create taking on the role of the artist and architect.


I'm interested in translation of physical transitional space into digital and vice versa. I peruse this idea through a dialogue between inside and outside environments in and out of gallery/museum situations and alternative/provocative locations. Sacred Danger for the Kim Fielding award for experimental arts vividly explores this issue, while Anti-Gravity Reality continues this research through the use of emerging technology. Here, spaces constructed by emotions of multiple participants are becoming outside installation/pavilion that then would be filmed into 360VR and exhibited in a gallery again."

Uli Ap, Artificial Intelligence of Virtual Reality, video documentation by Genesio De Rosa

At the time of AI, we are all concerned about them – some are worried, some are scared, some keep themselves optimistic and look forward to it, some are bored with them, some are not interested, some can't hear about them any more, some prefer not to say. The one thing that unites us all – we all know they are coming. We feel them. We hear them. But we do, actually, not know who they really are.


They might be like us. They might be different. They might take a certain shape or form. Or they might not. What is clear that they borrow our brains to construct their own realities.


This site-specific intervention to an extraordinary underground concrete hangar of Ambika P3 is a prototype of Anti-Gravity Reality: Inside the Black Cube or Brain AI, a project that reinvents human relationships with a machine and takes a philosophy of labour as a port of departure – to construct art without artists and architecture without architects. By donating their emotions to a machine, audiences become performers experiencing situations of their own making and creating structures to become a part of an outside installation.


Dancing on the mezzanine in a cross-reality zone of virtual, physical, and mental spaces – Anti-Gravity Reality: Inside the Black Cube or Brain AI looks freely towards vast open spaces of an unfolding concrete chamber mimicking its appearance through inclusion of windows in its structure. While windows observe the slow movement of the tubes and turned into a performer participant who is, immersed in VR, unaware of this surveillance mechanism.


It is a unique Virtual Reality experience – one of its kind you have never experienced before.


Animating a brutalist structure of Ambika P3, the machine establishes a dialogue between built and artificial environment, performance of a human and performance of a machine in an interactive conversations transversing borders of the disciplines and mediums.




Uli Ap's Solo Exhibition at Ambika P3 

University of Westminster in a partnership with London Festival of Architecture

Neal White                                                                            with their constructed spaces                                                                    Michael Mazière

Reynir Hutber hunting after the machine

physical appearnce of the Brain AI

what your brain is constructing in both physical and virtual realms is recorded by the system as 3D space

dynamism of the Brain AI

"Virtical Immersion" is a permanent artwork at the crypt of St Marks Church Kennington [one of the nine site-specific installations at TSWRI].

Immersion of visitors into a digital space to ensure their presence inside the structure is continued at Sacred Danger for the Kim Fielding Award for experimental arts. 

"Both That Side Where Real Is [St Marks Church Kennington, London] and Sacred Danger [the Kim Fielding Award for experimental arts, Wales South Glamorgan at Coed Hills and Cardiff] investigate sacred and transitional spaces, research into which also manifests itself in Syu Iro [International Artist-in-Residence Programme in Aso, Japan], White Light  Inside the White Cube [Art Licks Weekend, London], and Red Room [Herrick Gallery, London]."



exhibition invitation

audiences engagement

AI System records your anxiety as 3D GCI 

"The idea is that you become an interactive projection and enter a video space the same way you enter a physical space. You literally feel being a part of the projection and intercat with a characters inhabiting a projected space."

Space 2: View on the inside entrance and back Space 3

Space 1: View on the mezzanine

Space 3: TSWRI two-wall projection with immersive soundscape

"The first morph as an erasing the identity statement appeared in my artistic practice in 2013 during the opening of TSWRI [That Side Where Real Is] in the Crypt@St.Mark's at St.Mark's Church Kennington.


Black morph symbolised the cReature exiting the flat TV screen and entering the black corridor [Black Penetration Part I, II] to dissolve in its blackness  to a total dissolution, invisibility or an absence of presence. The artist' absence from the own opening was an anti-thesis to Marina Abramovich's performance "The Artist Is Present" at MoMa."

Genesio De Rosa at work

Space 3: "TSWRI" two-wall projection with immersive soundscape: Synchronized video projections are aligned in front of each other.

The sound of "TSWR" travels into the space of "Sacred Danger". It passes through the openings towards the corridor of flashing sound train

interactively enhanced lights and then violently desrupts itself into this vast main space. Here, it merges with the sound of "Sacred Danger" descending down the floor from the balcony. Horizontally distributed sound collides with virtically distributed sound. They form a densely intense immersive soundscape that leads audiences into a narrow cave-like room of intimate films ["The cReature Film", "Red Film"].


Both soundscapes meet on the mezaninne level at "Anti-Gravity Reality: Inside the Black Cube or Brain AI". At the interventions, AI elements express a random unpredictable behaviour. They are agitated by the penetrating sound of the interaction between "Sacred Danger" and "That Side Where Real Is". This uncontrollable environment provokes a participant's anxiety.

Facing the mezzanine, "Syu Iro" confront massive projections of "Sacred Danger". Created with a traditional Japanese-Joinery technique, this structure contradicts the very tradition by the implimentation of diagonals. "Syu Iro" "enters" sacred space generated by the unavoidably attractive seductive danger of Welsh slate mountains and caves. The perverse power of Gothic Cathedral and Torii Gates they both remind.


"Syu Iro" was my first so much passionately desired outside installation.


"Sacred Danger" was engineered to become multi-channel sound-video installation to transfer the experience of a physically built space through digital realms.


"Anti-Gravity Reality: Inside the Black Cube or Brain AI" continues these digital - physical & inside-outside investigations. It creates interactive immersive VR environment that disorients a participant by a collision with a physical robotic machine. EEG measures a participnat's anxiety level which trigers a creation of a personalised experience. At the culmination of this situation, AI system records a CGI structure created by an emotional input of every singular participant. Combination of CGI structures created by multiple participant will become an outside installation. An unpredictable self-governing algorithm will be created to power an independent construction of this "generalised anxiety" pavilion.


The question is: to be or not to be towards the emotional AI existance? If emotional AI with feelings (soft robots with feelings) will exist will they be proun to mistakes and imperfections due to the emotional component attached to them?