Strange and captivating mirrors have emerged in the desert of Qatar. Here’s the reason behind their appearance

Qatar’s desert landscape, known for its vast sand dunes and rugged limestone cliffs, has recently become a canvas for otherworldly art.

About an hour’s drive north of the imposing monolithic sculptures created by US artist Richard Serra, the arid terrain and sparse desert flora give way to a striking arrangement of twisted structures.

These free-standing rings and reflective glass mirrors are the creation of Olafur Eliasson, the Icelandic-Danish artist renowned for his exploration of humanity's profound connection with nature.

Named 'Shadows Travelling on the Sea of the Day,' this installation, unveiled in 2022 in northwestern Qatar, consists of 20 large circular enclosures, three single rings, and two double rings, all arranged in a fivefold symmetrical pattern.

Up close, the geometric forms appear both majestic and perfectly in tune with the endless horizon.

The mirrored ceilings playfully dissolve the boundary between the desert floor and the boundless sky, while the shifting interplay of sunlight and shadow creates ever-changing vistas.

Eliasson, based in Copenhagen and Berlin, was drawn to this isolated part of Qatar by the striking resemblance it bears to the rugged terrain of his family's windswept homeland in the North Atlantic.

The Icelandic Connection

Though the desert may seem barren at first glance, Eliasson was astonished by the hidden life he discovered there.

"When I first visited Qatar, I was struck by how it reminded me of Iceland, a place I'm intimately familiar with thanks to my parents," Eliasson shares with Dinogo. "The landscapes here, like those in Iceland, feel on the edge of inhabitable."

"Upon further exploration, however, it's clear that the desert is teeming with life, though to an untrained eye, it can seem vast, empty, and imposing."

Eliasson reflects that his work capturing the repeating patterns of Iceland's rivers, caves, and shelters offered him a unique perspective on Qatar, shifting his focus from Doha’s shiny new skyscrapers to the quieter rhythms of the land.

"I was deeply drawn to the Qatari landscape, seeing it through many different lenses: the environmental and geological history of the land, which contrasts sharply with the incredible new architectural developments," he explains. "These contrasts fascinate me."

While Eliasson is famous for large-scale works like his Weather Project, which bathed Tate Modern in London's iconic orange glow, his work in Qatar is located in such a remote area that it won’t attract the same crowds.

"To reach the installation, you must drive through the rugged desert north of Doha, passing by Fort Zubarah and the village of Ain Mohammed."

"Visiting the work requires some effort," he adds.

Above and Below

Though the site lacks major historical landmarks or prominent features like mountains and valleys, Eliasson believes the artwork has the power to shift how visitors perceive the area.

"The installation, with its mirrors and design, invites you to view the landscape with fresh eyes — what might seem plain or barren can reveal new perspectives, offering a deeper connection to the earth beneath you," Eliasson explains.

Eliasson reiterates that the structures are designed to engage people, urging them to interact with the artwork and reflect on the world around them.

"From a distance, the mirrored surfaces beneath the cluster of circular shelters and free-standing rings sparkle on the horizon," Eliasson notes. "Up close, you begin to see how the semi-circular shapes are reflected in the mirrors, transforming into complete circles."

"This creates an immersive environment that surrounds you from all sides as you stand among the structures. The mirrors reflect the land beneath you, and they also reflect you within this landscape, intertwining you with it, so to speak."

Eliasson says that human movements are magnified by the reflections, adding to the artwork's dynamic nature.

"As the sun shifts across the sky, the cool, inviting shadows move across the desert floor, and the colors of the soil are mirrored above and around you. In the ceilings, fitted with large mirrors, you may – with patience – catch glimpses of these cyclical motions."

"When you look up, you realize you're actually looking down – at the Earth and at yourself. Above and below, the sand envelops you, along with anyone else sharing the space."

Reality Check

Eliasson suggests moving your foot or arm under the mirrors to amplify the immersive experience.

"It's like a reality check on your connection to the ground. You’re simultaneously grounded in the sand and suspended, head-down, from a distant surface high above you. You’ll likely shift between experiencing a first-person perspective and a disorienting third-person view of yourself," Eliasson describes.

"This shifting of your gaze, combined with your own movement, intensifies your sense of presence, while the sweeping curves of the structures seem to dissolve into the environment, merging and becoming part of the landscape," Eliasson explains.

The artist states that his work is meant to evoke a feeling of passing time and to detach us from our usual sense of time.

He also hopes his art sparks imagination, encouraging us to rethink ways of living that could help address the climate crisis, which, in his view, art should play a significant role in confronting.

"Unlike climate activism, which is often direct and urgent, art is typically slow and meandering. I see 'Shadows Travelling on the Sea of the Day' as an invitation to reflect on how we might rebuild our relationship with the planet, to imagine new ways of being and caring for Earth," Eliasson says.

"It provides immersive experiences and space for introspection, while also offering an opportunity to share these experiences with others across different communities and cultures," Eliasson concludes.