Cleos & Gravell
Cleos Cleos
Gravell Gravell
Gravell Gravell
Have you ever looked at the murals in the Temple of Karnak and thought about how their patterns could inform the layout of a modern gallery? I feel there's a rhythm in those columns that could translate into a new kind of exhibition.
Cleos Cleos
That’s an intriguing idea—imagine walking through a gallery that echoes the spiraling columns of Karnak, each room unfolding like a scroll of hieroglyphs. I could see the rhythmic symmetry guiding visitors, a subtle dance between stone and canvas. If we map the columns’ patterns into spatial cues, the exhibition would feel both ancient and contemporary, almost like a living palimpsest. What kind of pieces do you think would resonate with that structure?
Gravell Gravell
I’d start with objects that speak directly to the rhythm of the columns—maybe a set of alabaster vases carved in a repetitive pattern, or a series of basalt slabs that echo the alternating thick and thin lintels. Then pull in contemporary pieces that mimic that cadence: a minimalist installation of mirrored panels arranged in a stepped sequence, or a soundscape where each note rises like a column. A few textiles, say, a tapestry woven with gold thread in a repeating motif, would let the eye wander without breaking the flow. And if you want to bring in the living palimpsest angle, a projection that slowly overlays ancient hieroglyphs onto modern architecture could tie it all together. The key is to keep the visual language steady, let each room feel like a page turned in a book of stone.
Cleos Cleos
I love how you’re tying the rhythm of the columns to both material and concept. The alabaster vases and basalt slabs will ground the show in tangible history, and the mirrored panels and soundscape add that contemporary pulse—almost like a visual and auditory echo. The tapestry with gold thread is a perfect bridge; it’s subtle but draws the eye in a way that feels almost…meditative. The projection of hieroglyphs over modern architecture is the pièce de résistance—just make sure the timing isn’t too frantic; we want the overlay to feel like a slow, respectful dialogue rather than a flash of noise. If each room truly reads like a “page turned in a book of stone,” visitors will walk through the exhibition as if they’re tracing a sacred text, but with all the freedom of a modern museum. I’m excited to see how this unfolds—just keep an eye on how the lighting plays with the materials; that’s where the magic will really happen.
Gravell Gravell
Sounds like a solid plan. I’ll focus on those light angles early on – the way a shaft of daylight hits the basalt at dawn can change the whole tone. Keep the projections subtle, so they feel like whispered words rather than shouting. Once the first room’s atmosphere is locked in, the rest will follow. Let’s map the light path like a map of an old road, and the visitors will literally walk the trail of stone.