INSTALLATION ZERO
The installation occupies all the room, being the room itself, thus a work in-situ. I changed its lines, angles and perspectives by painting the walls and the floor in a continuous action and colour (white, or grey); - and by re-plastering some of the corners to create a change in geometry. The newly represented frame of space is changed, challenging the viewer’s sense of distance and depth, and knowledge of highs, downs, left, right, front, back. In this composition, the walls are dissolved in the floor and ceiling; opening a new dialogue around their interaction with one another.
My idea to the space was to give the impression of a small but drastic turn, which would operate like a Photoshop filter, generating changes on the different layers of the space. The basic space/habitat elements [room’s composition and order, door, window, base-line, centre, corners, gaps] don’t disappear; they move, connect with each another, and change quality responding to the new filter.
I am interested about the conversation and tension between absence and presence, fullness and void -, not in a binary nor antagonist mode, but as collaborative forces. Not as states but, as processes and actions over time; both filling and emptying, using their references and resistances as many dynamic points and invitations for new possibilities.
The white niche operates like a frame in the frame. Its original lines are diffused creating a loss of space and balance references. There is a possibility for a new corner-niche to emerge and host; nevertheless, the punctual on and off light reveals the different stages and shades of becoming full, as much as losing quality. It shows its need for breathing and refuel by suggesting the threat of its death. The red tape lines suggest a dynamic measurement of the frame it is emerging from, nesting in and disappearing from.
The two fluorescent floating tubes installation derivates from the same 'switch of angle' in geometry. Their intensity and timing (repeated pattern of 1,20 min on; 10 sec off) is a scansion indicator of the new frame's journey in and out the container, enforcing the un-comfortableness of viewing a space from raw-to-tamed and/or from tamed-to-raw.
This very gradient interval is the point where one can meet the core of my work and experience my practice around this concern; 'the apparition in the appearances'*, how to contain and control its arrival, stay and disappearance.
The project is a work in-situ, but it is applicable in many variations according to the new place.
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* Jean-François Lyotard (1993) “Des traces diffractées” / “Diffracted Traces.” (“Anima Minima”). In : Herman Parret (ed.) Ecrits sur l’art contemporain et les artistes / Jean-François Lyotard. Writings on Contemporary Art and Artists. Vol. IV. / Textes dispersés sur l’art et les artistes / Various Writings on Contemporary Art and Artists. Leuven University Press, 2011. pp. 550-560
My idea to the space was to give the impression of a small but drastic turn, which would operate like a Photoshop filter, generating changes on the different layers of the space. The basic space/habitat elements [room’s composition and order, door, window, base-line, centre, corners, gaps] don’t disappear; they move, connect with each another, and change quality responding to the new filter.
I am interested about the conversation and tension between absence and presence, fullness and void -, not in a binary nor antagonist mode, but as collaborative forces. Not as states but, as processes and actions over time; both filling and emptying, using their references and resistances as many dynamic points and invitations for new possibilities.
The white niche operates like a frame in the frame. Its original lines are diffused creating a loss of space and balance references. There is a possibility for a new corner-niche to emerge and host; nevertheless, the punctual on and off light reveals the different stages and shades of becoming full, as much as losing quality. It shows its need for breathing and refuel by suggesting the threat of its death. The red tape lines suggest a dynamic measurement of the frame it is emerging from, nesting in and disappearing from.
The two fluorescent floating tubes installation derivates from the same 'switch of angle' in geometry. Their intensity and timing (repeated pattern of 1,20 min on; 10 sec off) is a scansion indicator of the new frame's journey in and out the container, enforcing the un-comfortableness of viewing a space from raw-to-tamed and/or from tamed-to-raw.
This very gradient interval is the point where one can meet the core of my work and experience my practice around this concern; 'the apparition in the appearances'*, how to contain and control its arrival, stay and disappearance.
The project is a work in-situ, but it is applicable in many variations according to the new place.
----
* Jean-François Lyotard (1993) “Des traces diffractées” / “Diffracted Traces.” (“Anima Minima”). In : Herman Parret (ed.) Ecrits sur l’art contemporain et les artistes / Jean-François Lyotard. Writings on Contemporary Art and Artists. Vol. IV. / Textes dispersés sur l’art et les artistes / Various Writings on Contemporary Art and Artists. Leuven University Press, 2011. pp. 550-560
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