An installation in three parts: White Lie, Splinter and The Night Sky.
Splinter is part of the Incidentals series and involves rebuilding the gallery walls in such a way that a shallow shelf, with tapering depth, spreads across two adjoining walls. The shelf is lined with gold leaf and lit from above. The result is horizon line that appears to be flat when seen from certain angles and bent when seen from others. The Night Sky is a 5’ tall, truncated polyhedron painted a deep matte blue. It is brightly backlit so that it appears to be either a flat cutout or a deep void when entering the gallery space. As one walks around the piece, it reveals itself as a sculptural form. The form is taken fromMelancholia 1, an etching by Albrecht Durer dated 1514.
White Lie consists of a bright rectangle of light projected on to the wall from an oblique angle. Standing directly in front of the projection, a viewer does not cast a shadow. One’s eye cannot adjust for the white light of the projection and surrounding shadow at the same time. This piece is inspired by the experience of being in brightly lit clouds, where depth is difficult to gauge. It also comes from thinking about the absence of a painting and the space it might have occupied. Splinter is part of the Incidentals series and involves rebuilding the gallery walls in such a way that a shallow shelf, with tapering depth, spreads across two adjoining walls. The shelf is lined with gold leaf and lit from above. The result is horizon line that appears to be flat when seen from certain angles and bent when seen from others. The Night Sky is a 5’ tall, truncated polyhedron painted a deep matte blue. It is brightly backlit so that it appears to be either a flat cutout or a deep void when entering the gallery space. As one walks around the piece, it reveals itself as a sculptural form. The form is taken fromMelancholia 1, an etching by Albrecht Durer dated 1514.