Art, as it has always throughout history, pushes the boundaries of human understanding alongside science, introducing new ideas, concepts, and techniques. Some art forms are adaptable, while others remain as they have been for millennia. Ceramics are one of the least adaptable mediums of creation, staying true to their essence across various variations. However, ceramics are not and will never be digital. What can be digital in ceramics is the transposition of the form of created objects into the intangible digital realm, where they acquire different properties and purposes. Especially in a virtual immersive environment, unforeseen possibilities emerge, making ceramics a multidisciplinary and multimedia art form.

Objects presented in ‘No. Time No. Place’ VR project are crafted from clay, representing ceramic sculptures. Transferred into the virtual realm, these objects become performers, spatial installations, manipulative and interactive pieces. Thanks to VR technology, they acquire new capabilities and physical characteristics.

The shift in the perception and understanding of art since the early 20th century (with the avant-garde movements) through the use and manipulation of photography and later video recordings has altered the temporal and spatial dimensions of art. Time has become a malleable object. In the first Futurist manifesto, F.T. Marinetti declared, “Time and Space died yesterday.” John Cage redefined the relationship to a musical piece, introducing chance, while Umberto Eco in literary theory introduced the concept of the “open work.” The 21st century, among other things, has propelled us into the virtual, immersive sphere where artistic content allows the recipient to interact within an isolated space and multiple, parallel temporal dimensions.