SEB MICHEL
Capturing light and time within a translucent world.
A geometric structure rises quietly, draped in light and the open sky.
Composed of transparent acrylic and a black frame, its form evokes both architecture and sculpture.
Yet, as it naturally draws the viewer's gaze upward, it evokes the memory of the "totem"—an object people have long looked up to with reverence and in prayer.
This "Translucent Totem" was born from inspiration drawn from the sculptural structures of Iris van Herpen and Native American totems.
In this feature, we unravel the origins of the "Translucent Totem" by exploring its form and materials, the interplay of light, the passage of time, and the perspective offered by a low-angle view.
Translucent Totems
ART | September 26, 2026 14:00
SUBMISSION
SUBMISSION
A translucent structure reflecting the sky.
An ultra-minimalist form composed of black frames and transparent surfaces—
there is hardly any ornamentation to speak of.
Yet, the piece radiates a quiet presence because, beyond its transparent material, there lie the sky, the light, and the passage of time.
The blue sky, the light of dusk, the shapes of the clouds—even though the structure itself remains unchanged, the scenery reflected within it is never the same twice.
The work is fixed in place, yet its expression shifts from moment to moment; the "semi-transparent" material blurs the boundary between the artwork and the world around it.
SEB MICHEL
INSPIRATION
A modern totem born from two of the artist's memories.
Iris van Herpen
The creator drew inspiration from several sources for this work. The first is the work of Iris van Herpen. Specifically, the inspiration came from her geometric and architectural structures. Transcending the realm of clothing to traverse the boundaries between the body, architecture, and sculpture, these forms powerfully evoke the inherent beauty of the structure itself.
Totem Revival
Another source of inspiration was Raymond Parker’s *Totem Revival*—specifically, its vertically stacked structure and the perspective of looking up from below.
The symbolism and spirituality evoked by that work paved the way for this one.
Structure eventually becomes a symbol.
The "structure" drawn from the works of Iris van Herpen and the "symbolism" sensed in totems—when these two distinct images converged, the concept of a contemporary totem emerged within him.
The form of this piece does not imitate any specific object.
A structure rising vertically. A geometric frame. Stacked variations in height. And the vast negative space left between them.
Their combination creates a unique presence that is at once sculptural and architectural.
Transparent things reveal light.
Acrylic glass does not assert itself; it simply exists, transmitting and reflecting light while incorporating the surrounding scenery. It is precisely for this reason that the work’s contours only emerge through the play of light.
While the black frame defines the form, the transparent surfaces embrace the sky and clouds, drawing the outside world into the interior of the piece.
What the viewer sees is not merely the structure itself, but the very scene that existed there at that moment.
SEB MICHEL
Light does not exist outside the work.
No compositing was used in the photography of these works.
Each piece was photographed at a different time of day and on a different date, allowing the sky and light of that specific moment to be naturally reflected in the acrylic glass. The light is distinct—neither morning, midday, nor evening. The cloud formations, sky colors, and sun positions vary as well. Consequently, even works sharing the same structure embody different moments in time within their photographs.
Photographing these works is not merely about recording their form; it is about capturing the very passage of time that existed alongside them at that moment.
No compositing for a once in a lifetime scene.
All the works in the "Totems" series were created in single, unedited shots.
Rather than compositing the sky later, the artist photographs the scene exactly as it is reflected in the work itself. This approach reflects the artist's commitment to capturing the scene as it truly exists in the moment, prioritizing that reality over the artificial construction of an image. Because the material is transparent, the sky does not merely serve as a "background" but becomes an integral part of the work itself. Each photograph preserves not only the structure but also the specific light that existed at that place, on that day, and at that time.
The act of looking up.
The low-angle perspective employed in this work is not merely a photographic technique.
It is a viewpoint that places the viewer in the position of looking upward. By gazing up from below at the vertically rising structure, its height is accentuated, causing the artwork to loom as an entity that transcends the human scale. This perspective mirrors the act of looking up at a totem. In our daily lives, we are accustomed to viewing objects that exist at our own eye level.
However, when we look up at something far larger than ourselves, a sense of distance naturally arises, accompanied by a feeling of awe. In *Semi-transparent Totem*, the low angle serves not simply as a vantage point for viewing the work, but as a perspective that establishes a relationship with it.
SEB MICHEL
The light, before it becomes a work of art.
When looking solely at the photograph of the finished work, the scene captured within it appears to be an integral part of the artwork itself.
Yet, that scene was not fixed until the very moment the shutter was released.
The composition is determined by seeking out a spot where natural light streams in, observing how the light enters the acrylic glass and where the shadows fall.
The artwork and the light.
Light and space.
And the camera.
A single photograph takes shape as the relationships between these elements are explored.
Light gives form.
On its own, a transparent material rarely possesses a distinct outline. Yet, when struck by light, reflections and shadows emerge, and the object’s presence suddenly springs into view.
A piece of acrylic held in the hand. A shadow cast upon the floor. A beam of light stretching across the wall.
The form of the completed "Totems" reveals itself through the accumulation of such small, light-driven phenomena. It is not merely structure that defines the work’s shape; forms that appear only through the interplay of light also constitute the piece.
01
02
LIGTH
夕暮れの光
黄昏の光
03
TWILIGTH
TIME
SUNSET
The same form
never wears the same light twice.
DAYLIGHT
澄んだ空の光
DETAIL
A transparent surface reflecting the sky.
DETAIL
The expression created by the twilight light
DETAIL
The shifting colors of the sky
It bears repeating that no compositing was used in the photography of these works. Each piece was shot at a different time and on a different day, allowing the sky and light of that specific moment to be naturally reflected in the acrylic glass.
As time shifts, so too do the colors of the sky and the character of the light.
The shapes of the clouds and the position of the sun are never the same.
Therefore, even works sharing the same structure are imbued with distinct temporal qualities within the photographs.
Photographing a work is not merely about recording its form;
it is about capturing the very passage of time that existed alongside the piece at that instant.
SEB MICHEL
SEB MICHEL
Director's Statement
SEB MICHEL (In Switzerland)
At the heart of any creative work lie the pieces and ideas that have been passed down through the ages.
We asked the creator to speak in their own words about the inspiration behind this work.
TRANSLUCENT TOTEMS originated from the sculptural creations of fashion designer Iris van Herpen. The geometric and architectural structures that define her work inspired me to reflect on monumentality, elevation, and the relationship between the human scale and forms that transcend their purely aesthetic function.
Looking at these constructions, I found echoes of ancestral Native American totems. Their vertical presence, symbolic power, and the way they are traditionally experienced from below naturally suggested a sense of reverence andhumility toward something greater than ourselves.
From this inspiration, I envisioned a contemporary interpretation: translucent totems that allow the sky to become part of the composition. Their transparency dissolves the material into light, creating a dialogue between sculpture, architecture, and the infinite. The strong low-angle perspective reinforces their monumental presence while emphasizing our own human point of view in relation to their symbolic and spiritual magnitude.
The three works were photographed exclusively in natural light, each at a different time of day. The changing light and sky evoke the passage of time and remind us that the universe is in constant motion, making light an essential element of the composition.
As with the rest of my artistic practice, I deliberately embraced a minimalist approach. Every image is distilled to its essential elements, removing all visual distraction so that form, light, and negative space can fully interact. The result is a series of quiet, contemplative works that invite viewers to experience these contemporary totems as timeless
forms suspended between architecture, sculpture, and spirituality.
Photographer / Director / Artist
SEB MICHEL
半透明のトーテム
Translucent Totems
Category / Art
Inspiration / Iris van Herpen
Raymond Parker / Totem Revival