MAKING SENSE 2015

 

 

MAKING SENSE, 2015, installation, Bolsky Gallery, Los Angeles, CA. Text, materials, video documentation, poem and translation.  

Nautical Twilight,
2015, 450nm of Tokyo blue photography gel, dimensions variable  
Salt of the Earth,  2015, 100kg of Mediterranean sea salt, dimensions variable  
30seconds of Lake Michigan, 2015, film photographs printed as digital negative triptych, 33.02cm x 48.26cm ea.  
Omniscient,  2015, 35mm photograph of Nordic stream water, 101.6cm x 304.8cm  
Sage Cypress, 2015, 29.57ml of essential oil, dimensions variable      

Creating a submersive environment of a sensual, liminoid state, this installation is composed of five elements: light, weight, time, distance, memory. 


In the interest of locating origins of tyranny, conflict and war, the installation came through arranging materials in space based upon researching the heavy water war and development of technology interfaces. Images plastered on the wall appearing portal-like under the lighting effect. Scale, light, and use of negative space creating senses and affects within viewers. Tokyo blue photography gel, typical in stage and photo-sets for creating twilight, covered light sources including the skylight and glass doors. This tonal range has been researched in neuroscience studies to trigger the cerebral cortex, where the fight or flight response is located, also found in the blue light emendating from technology viewing apparatus-the screen. Creating the experience of nautical twilight, or the span of time when sea navigation by horizon is not possible and land objects require artificial illumination for viewing. Triangulation is a navigational strategy to locate an unknown point with two known points, and used as a structure with the other elements in the room. 

The sea salt pile on the floor contained sage and cypress essential oils referencing complex histories of value construction, ideological phenomena of the colloquialism: Salt of the earth, as a factor of benevolence. Sage and Cypress oils are often used in meditation and healing modalities to evoke clear and open thought.

The monolithic image, Omniscient, and digital negative print triptych, 30seconds of Lake Michigan, triangulate with the salt on the ground. The reference to unlimited understanding and tradition in art history for narrative construction, invite viewers to consider the structure of time through the experience in the space. Viewers reported the totalising experience as soothing or anxiety inducing, describing sensations of submersion, disorientation, confusion, calm and clarity, expanding and contracting as they move through space.

A printed and folded book containing a poem translated into nine languages. On the verso of the accordion folded book, a printed image from the triptych in the installation. Visitors were invited to take the book of translated poetry with them. The Making Sense book with 9 translations, was printed on black and white on matte paperstock. The poem is a literal and translative approach to not knowing, or the kind of skillset a human in an intercontinental context may face themselves with. Transcript of poem in English below images. 

The installation engages in ongoing iterations, considering the historical narratives and concerns of site-specific geography. Image Architecture and Vesper Monumenter are iterative sites of this continued work. The monolithic image and text, Omniscient, was awarded by the jury in the Imaging New Eurasia exhibition in Gwangju, South Korea.







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no noing, no is not is, here is no knowing, there is no knowing, then is no knowing, past time, past in front of time, suspended time past, past after time, mirror makes past before eyes, eyes imagine, imagine is dream, image is not imagined, image is not knowing, image is sensing, sensing is feeling, feeling is image, image is sense focus front, front focus mirror, mirror is what past seeing mirror sees past, groping sense of desire, without letters or numbers. 

Variations By and Translated To: Frida Li, Chinese; Yasmin Than, French; Annetta Kapon, Greek; Marcela Gottardo, Italian; Soo Yun Jun, Korean; Børge Indergaard, Norwegian; Edyta Czajkowska, Polish; Sweet Samson, Russian; Delia Perez-Salinas, Spanish  


     



RESEARCH AND METHODOLOGY:
The installation developed through researching communication technology and the history of the WWII Heavy Water War in Vemork, in Telemark, Norway. The space was constructed by photographs, salt, scent, and photography lighting gels to evoke a liminoid hue at twilight. The metaphorical environment created a temporary space where Axioms do not hold up in physical space or material matter. The artwork extends to include the viewer’s subjective truths where congruences exist within the material.  

The story of the Heavy Water War was revealed as I intuitively worked through the historic layers of the a worldwide trauma, seeking to find the origin of terrible actions and the ancillary events which returned people to peaceful living. By the means of following research on the properties of materials and their relationship to the physiological human experience, I was led to Vemork Heavy Water Station in Norway. I wondered if art making can serve as a site of research to 1. uncover lost details which alter the understanding of histories 2. process latent epigenetic memories  3. provide a space for deeper learning and reflection.  

While time travel and political conversations still have yet to bear fruit in daily life, I wonder if moving learning into exhibition spaces, permits (Currere) a form of knowledge creation, enabling people to fully understand not with the mind alone but through an approximated experience. Experiences that create foundational layers to inspire courage to do things  the people in Rjukan did for the course of history.  



 
 

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