How we perceive our surroundings often depends on subtle changes such as light shifts and passing reflections. Rotterdam-based designer Sabine Marcelis’ Panorama invites us to reconsider what we see and how we experience space. This concept anchors her latest work at the High Museum of Art’s Carroll Slater Sifly Plaza in Atlanta, United States, continuing the museum’s tradition of engaging outdoor installations that blur the line between art, design and public interaction.

Running from July 12 to December 1, 2024, Panorama comprises four monumental glass pillars that rotate, reflecting and refracting light as they respond to their environment. The movement of the pillars creates an ever-changing interplay of colour and reflection, incorporating elements of the urban landscape and natural light around them. “This installation is very much about the relationship between art, environment, and the viewer’s presence,” says Monica Obniski, curator of decorative arts and design at the High Museum of Art. "The shifting views encourage visitors to remain curious, making it an immersive experience.”

The kinetic quality of Panorama marks a new direction for Marcelis, known for her innovative use of glass and resin. The Dutch designer has fused her work in spatial design with the museum’s mission to present interactive works, which speaks to her continued innovation and manipulation of materials. “With Panorama, I wanted to play with the idea of fluid perception—how colour and light can transform a space and our experience of it,” explains the designer as quoted in the press release. “It’s about inviting visitors to slow down, explore, and see familiar things through a different lens.”

This invitation to explore space through movement aligns with the museum’s mission to make art accessible and engaging beyond traditional galleries. Panorama builds on previous installations, such as Mexican-American artist Tanya Aguiñiga’s HAPPY JOYLANTA (2023) and Outside the Lines by Bryony Roberts Studio (2021). “Each of these projects focuses on interaction and playfulness, making visitors comfortable and engaging,” adds the curator. "With Marcelis’ work, interactivity comes not just from touch but from how light unfolds with time.”

Since 2014, the High Museum of Art has used the plaza to reimagine how public spaces can foster creativity and connection. Notable projects include Spanish designer Jaime Hayon’s Merry Go Zoo (2017), a whimsical carousel, and Japanese artist Yuri Suzuki’s Sonic Playground (2018), known for interactive sound installations. This large-scale installation encourages visitors to physically engage with the artwork through shifting reflections and light.

"The idea behind these activations is to create something that belongs equally to the museum and the public,” says Obniski to STIR. “These immersive installations invite both discovery and engagement, whether someone plans to spend an afternoon here or just stumbles upon the plaza during their day." With each turn of Marcelis' four monolithic volumes of gradient orange mirrored glass, viewers catch glimpses of the city, sky, and their reflections, allowing personal interactions.

Marcelis' ongoing fascination with light as both material and metaphor resonates deeply in Panorama. Known for her sensory installations, she uses transparency and reflection to engage viewers in experiences that shift with their position. The reflections on the glass pillars mirror the sunlight and urban environment, injecting warmth into the space and offering new visual layers with each change in light. The multiyear plaza activation initiative has drawn nearly one million visitors, turning the open-air space into a vibrant cultural hub within the Woodruff Arts Center. Supported by the Lettie Pate Evans Foundation and other sponsors, this initiative reflects the museum’s commitment to creating engaging environments that promote interaction and curiosity.

Marcelis' Panorama introduces movement as a key element, marking the first time the High Museum of Art has commissioned a kinetic work for the plaza. "The introduction of movement adds fluidity," explains Obniski. "Even simple shifts in light and perspective can alter how we see and feel. Through the rotating glass, visitors can see themselves, others, and their environment; offering a fleeting experience that invites reflection on the flow of time and light.”

The museum’s focus on outdoor interactive installations has transformed the plaza into a space where art, public life, and community intersect. “With each installation, we aim to create a space where people of all ages can feel a sense of belonging,” Obniski explains to STIR when asked how she sees the installation initiating a dialogue between the indoor and outdoor spaces of the Piazza. Panorama builds on this legacy by inviting visitors to reflect on the beauty of impermanence and continuous motion.

Known for her work with pure forms that highlight materiality, Marcelis applies an aesthetic vision to collaborations with industry specialists. By intervening in the production process through experimentation, she achieves surprising visual outcomes across museum installations and commercial commissions alike. She has earned recognition from institutions like Museum Boijmans van Beuningen, Stedelijk Museum Amsterdam, and the National Gallery of Victoria. Her commissions for major brands such as Fendi and Dior, along with awards like Wallpaper Designer of the Year (2020) and the Elle Deco International Design Award (2023), further highlight her expertise.

With Panorama, the designer brings this expertise to a new scale, merging artistic vision with the museum’s commitment to public engagement. As the pillars shift throughout the day, they transform the plaza into a space where art and life blend seamlessly. “Sabine creates projects that are sensitive to their surroundings using reflective glass as a material to question our initial impressions,” adds the curator. “What happens when we see things differently? Can we gain new clarity in our lives?”. Panorama offers more than a visual experience; it encourages us to slow down and see the world in a new way. As Obniski concludes, “At its core, Panorama is about the beauty of change. It shows us that perception is never static; it evolves, just like we do”.