Imaginary, miniature interiors and objects within them, have played a vital part in Ranner's practice. Picturing reality, yet not realities reflection, her works are characteristic for their uncanny nature, namely in regard to their fictional character and high degree of perfection, disrupting the traditional borders between reality and imagination, between the tangible and the untouchable. Rescuing the object with detail, this piece mirrors the nature of its subject, that being one of the many radiators designed by Austrian-British philosopher Ludwig Wittgenstein (1889-1951).

Wittgenstein played a central role in analytic philosophy. By applying modern ideology to metaphysics via language, he provided new insights into the relations between the world, thought, and language, shaping a diverse logic influencing various fields of knowledge, including perception and intention, ethics and religion, aesthetics, and culture. Wittgenstein's participation in the co-designing of his sister's family home, a modernist villa in Vienna, Austria, in many ways reflected his philosophy. Inspired by the teaching and style of Adolf Loos, his design rejected decorative elements and instead cherished the functionality and simplicity of its objects. One of the major concerns of Wittgenstein was to resolve the conflict between the overall asymmetry of the house. A desire, driven by a sense of internal symmetry, a formal but also conceptual problem addressed by the philosopher. His radiators, folding around the corners of the rooms, are known for their lengthy production period, but, and namely, for their precision and positioning, aiming to resolve and maintain the problem of symmetry of the villa's rooms. Renner's interpretation of the famous object can be perceived as a small memorial, where the nature of the object under scrutiny becomes an embodiment of its maker's philosophy and his psychological profile, for which a madness of perfection and dedication to the discourse of modernity is one of the key characteristics.



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