在“REFLECTION”中，SpY利用街道家具中常见的元素，如用于监控和安全的凸面镜，将这个催眠的动态雕塑呈现在运动中。

这个动态雕塑由20个凸面镜组成，通过反射产生了一个复制的宇宙，随着观众的运动和位置的不同变化而演变。

SpY探索了观众与他们自己的倒影和环境的关系，增加和扩大了他们之间的隐私和亲密感。

这是一种不可避免的警觉，在这种警觉中，我们发现了自己，而在这种警觉中，其他观众也不可避免地与周围环境一起被反映出来。

在这个方案中，SpY与个人的存在和现在，扭曲的现实，可见性与隐私一起工作。这些感知恳求观众面对他/她的倒影，这是在运动中的雕塑提案前创造的。

这是一个序列，移动设备很可能会添加到其中，以便以这样或那样的方式记录它。这个纪录片动作在数字环境中扩展和复制了雕塑，它将在网络上传播，但在这种情况下，观众的反射图像被扭曲、重复和倍增。

In “REFLECTION”, SpY makes use of such common elements of street furniture as convex traffic mirrors that are used in surveillance and security, to present this hypnotic kinetic sculpture in movement.

Made up of 20 convex traffic mirrors, this kinetic sculpture generates a replicated universe that evolves with the different variations of movement and position of the spectators through reflection.

SpY explores the spectators’ relationship with their own reflection and environment, multiplying and expanding their privacy and intimacy among them all.

It is a kind of unavoidable vigilance in which we find ourselves and in which other spectators will inevitably also be reflected along with the surroundings.

It is a proposal in which SpY works with the presence and the now of the individual, the distortion of reality, visibility and privacy. These perceptions implore the spectator to face his/her reflection, which has been created in front of the sculptural proposal in movement.

It is a sequence to which mobile devices will more than likely be added in order to document it in one way or another. This documentary action expands and replicates the sculpture in the digital environment, where it will spread over the net, but in this case, with an image of the spectator’s reflection that has been distorted, repeated and multiplied.