Light, sound, time and space converge in an exploration of science fiction in the Ann Lislegaard exhibit at the Henry Art Gallery.

Ann Lislegaard: 2062 is a collection of video installations that expand on works of literary science fiction. 2062 refers to the year that the Danish artist will turn 100 years old. The show marks her first solo exhibition in the United States, and the exhibit will remain on display until August 23.

“It seemed to be three sets of digital images that were converging and warping into different things,” said gallery visitor and UW alumna Jacki Huber. “It was kind of mesmerizing.”

Influenced by famous works of science fiction, the exhibit drew individuals with a wide variety of interests on its opening night. The science-fiction component of the exhibit in particular seemed to appeal to some visitors.

“I think this exhibit is interesting because it’s based on really cool old science fiction,” said exhibit patron Jeff Benner. “Normally, you don’t come to an art piece with impressions, but since it’s based on science fiction, you come with that background and experience.”

Samuel R. Delany’s Dhalgren, J.G. Ballard’s The Crystal World and Ursula K. Le Guin’s Left Hand of Darkness are science-fiction novels that influenced Lislegaard’s “Bellona,” “Crystal World” and “Left Hand of Darkness” installations.

In her lecture at the gallery April 18, the artist said that her intention was not to illustrate the novels, but that her work contains some elements of the literature.

“Each of Lislegaard’s works offers its own visceral experience of some imagined places — and perhaps time — lying outside of logic and the known,” said Elizabeth Brown, the chief curator of the Henry. “Encountering these animation works in a single space enables visitors to contrast three very distinct relationships to auditory content compounding and complicating each other.”

The artist created sound installations by manipulating and adding to the motion-picture soundtracks of 2001: A Space Odyssey and Close Encounters of the Third Kind. Combined with the digital animation, Lislegaard’s display makes for a unique visual-auditory experience.

Reach editorial assistant Lexie Krell at arts@dailyuw.com