The manipulation of light and shadow and the undeniable urge to organise things in a geometrical way - even in chaos - defines most of Lokman’s works. Time-manipulated shadows that expand and contract evoke a feeling of time elapsing, sometimes obviously, sometimes more subtly. This notion of the mutability of time is a common factor in Timeshells.

“I hope I fascinate my audience by disturbing and accentuating the geometrical order of everyday objects, giving them a different contextual meaning and a new visual beauty.” 

Shadows and lights move independant of the physical reality. The shadows are not caused by the sun or a lamp, but by an animated light source in the computer. This adds a “reality” that does not align with what you look at; you see the result of moving light sources, but the light sources don’t exist, causing an alienating and hypnotic effect. It confuses the brain.


“Creating Timeshells was initially an intuitive process. I can often only indicate in retrospect why I made something. I don’t have the urgency in advance to educate, reform or warn society. I can’t deny however that there is an engagement in most works. In some cases this is obvious, like in Hello Welcome, based on the endless stream of SPAM and the screaming presence of flat materialism on the internet. Or in Strike, a work from 2016, based on the increasing sense of threat and individualism in society, partly as a result of the assaults in France and beyond. When a negative, threatening message is wrapped in aesthetics and beauty, the message itself gets stronger by the absurdity of the contrast.


Beauty can only exist by the presence of ugliness. Composition in Blue and Yellow is a good example of this. The vulgarity of the combination of noses and urinals becomes an aesthetic reality when combined with a choreography of lights.”