Totally Wired is the fifth solo exhibition of works by the Scottish artist Jim Lambie at the Galleria Franco Noero in Turin, and the first to be shown in the spaces in Piazza Carignano 2.

Lambie continues his artistic research with a lysergic, psychedelic vision of reality and of its reversal tinged with pure, bright colours in which objects from everyday life, found or constructed by the artist, create a dimension of their own in a world of the unreal.

One of the characteristic features in some series of new works is the experience of natural light – the arc traced out by the sun during the course of the day, from dawn to dusk, creating a tonal range of colours.

The door is an expression of transition, a threshold that filters the light depending on how wide it is open, while at the same time acting as an archetypal object on which to imagine a new horizon. Its form is concise, reduced to no more than a slender rhomboid with engraved panels, hanging on the wall like a painting but projected into a third dimension. The individual elements are often assembled in groups, arranged at a precise distance one from the other so that, within the space they form, they convey an experience of colour by means of interpenetrating fields. These emerge ever more powerfully one over the other, in a manner resembling the ever-changing nuances in the colour of the sky during the day. The perception of colour on the surfaces depends where one is looking from, and this too offers an opportunity to mimic natural effects in a context which is by no means natural, and which lies midway between the real world and an idea of abstraction. Imagined as individual elements, their surface is covered with a single colour – the graphite grey of a sky darkened by clouds or by nightfall.

The sun is too dazzling, with rays too bright to look into directly, and it combines impressions far removed in terms of time and type: the medieval craft technique of making stained-glass windows is placed alongside more recent and humble elements like sunglass lenses. In a new series of works, coloured lenses are mounted on metal using exactly the same technique as Gothic leadwork windows. They are brought together in an organic array of transparent colours, forming new constellations that can be brought into focus with the naked eye.

The surreal quality of an imaginary space spangled with asteroids is suggested by stones dotted around the walls, crossed by metal belts of gaudy colours, sharp and clear in their details. Their origin alludes to a linguistic deviation, a shift of meaning in an expression in which the words are separated and taken literally – the ‘asteroid belt’.

In the central room, the space is crisscrossed by ladders resting on plinths, all floating and leaning at the same angle, covered between the rungs by mirrors that create a reverberation of reflections, capturing the eye as it races upwards, to the top and beyond.