A boy aiming his slingshot into the sky seems to aim both at the broken windows of an abandoned building but also a series of birds that seem to appear in the gaps of cracked glass, transfixed in various stages of flight.

Artist Pejac is well known for his negative-space interventions, from pealing back paint chips to carefully reveal brick beneath to other contextual installations. Much of the art is in the craft: a meticulous removal (or breaking) of materials to slowly reveal some new whole, much like a sculptor chips away at a marble edifice.

This latest piece was produced during his residency with the Museum of Modern and Contemporary Art in Rijeka, Croatia, where he spent multiple weeks crafting site-specific works.

Camouflage (Tribute to René Magritte) is set in the huge windows of an old paper factory power plant, depicting a flock of birds that might be hard to spot were it not for the outline of a boy taking aim below them. His figure calls attention to the larger work, signalling a passer by the existence of something both large and subtle going on in the frame.

The implied story is one about hunting and survival, the birds disguising themselves against a backdrop of broken window panes, making them harder for the child to spot. The boy, too complex a figure to render through even the most craftily broken glass, is painted over a series of panes (images by Sasha Bogojev).

Splintered corners, giving The Shard in London its iconic multifaceted look, are now also responsible for letting guests of Europe’s tallest hotel see into the spaces of their nighttime neighbors.

Having sent a reporter to spend the night, the Financial Times confirmed guest reports in a snapshot: a series of glass panels standing out from the structure have turned into a series of accidental mirrors, giving room-with-a-view a new meaning in the context of this building.

During the day, visitors to the Shangri-La can see out in nearly all directions, but at night with inside lights on they also get an uninvited sneak peak back into adjacent bedrooms. Designed by Renzo Piano, the famous building may not be as problem-plagued as its car-melting sibling but it certainly has some issues yet to be resolved.

The solution so far offered by the hotel seems somewhat incomplete – they are notifying guests of the issue and advising them to use curtains. Still, not everyone will remember to take such steps and many will want to leave their curtains open, since they came for the lovely views in the first place. In the end, one is left to wonder how no light modeling of the building revealed this potential problem (image above by Patrick Collins).