九个虚拟雕塑隐藏在玻璃下面，是Seidel为创建抽象运动雕塑而开发的实验装置。
德国电影博物馆，法兰克福
垂直投影，D 2015, 4 × 14米，循环
这些主要是通过设计三维纤维折射集群和引力透镜这些不同的体积和色密度产生的。奇异的元素相互吸引，聚集在一个巨大的雕塑系统中，每个实体都有自己的视觉轴和消失点。发光的构造在主要颜色的山脊和高原之间创造了棱镜的相互作用，它们漂浮在无限的紫色背景前。
从局部脉冲到推测链式反应的半混沌过程驱动了这个多层、不断膨胀和衰变的系统。在这些可能运动的光谱中，每一个独特的雕塑都成为整个图像力场的一个不可分割的组成部分。在其不对称的编配和大量的时空互动中，抽象有机图像在外观上接近于“移动的绘画”和“活的雕塑”的概念，赛德尔已经发展了十多年。
最初，vitreous被设想为媒体façade艺术品80 × 24 × 14米(目标城市之光，明尼阿波利斯，美国，2012)。后来发展为4 × 14米的大型投影(德国电影博物馆，法兰克福，德国，2015)。这部短片于2015年上映，由尼古拉·冯·萨维茨作曲。
The nine virtual sculptures underlying vitreous resulted from experimental setups developed by Seidel for creating abstract motion sculptures.
German Filmmuseum, Frankfurt
Vertical Projection, D 2015, 4 × 14 m, Loop
These were generated primarily through devising three-dimensional clusters of fibrous refractions and gravitationally lensing these different volumetric and chromatic densities. Singular elements gravitate towards each other, accumulating in a gigantic sculptural system, where each entity exists with its own visual axis and vanishing point. Luminous formations create prismatic interactions between ridges and plateaux of the main colours, which float in front of the infinite violet background.
The multi-layered, continuously expanding and decaying system is driven by semi-chaotic processes from localized impulses to speculative chain reactions. In the spectrum of these possible movements, each singular sculpture becomes an integral component of the whole pictorial force-field. In its asymmetrical orchestration and multitude of spatio-temporal interactions, the abstract-organic images are close in appearance to the concepts of »moving paintings« and »living sculptures« Seidel has been developing for more than a decade.
Originally vitreous was conceived as a media façade artwork of 80 × 24 × 14 m (Target City Lights, Minneapolis, USA, 2012). It was later developed as a large-scale projection of 4 × 14 m (German Filmmuseum, Frankfurt, Germany, 2015). The short film released in 2015 features a score composed by Nikolai von Sallwitz.
