DOWNSTAIRS AT ERICS / TIME IS A VECTOR

While continueing the use of geometric pattern and surface, the new work introduces irregularity and unpredictability in both process and language. Digital projection is used as a temporal intervention such that the work must be experienced over time rather than in snapshot fashion. The specific correlation of light and surface cause the two to be inseparable, and it is their interrelationship that is at the core of the work.

DOWNSTAIRS AT ERICS

Two long reams of diffusion film are hung from ceiling to floor, trailing to meet the walls of the gallery. On one, a faceted uniform pattern has been scored, allowing the surface to become volumetric as it drapes to the floor. The second sheet hangs in reverse, almost a mirror image– but instead, its surface has been violently crumpled and irregularly faceted. Using video projection, a synchronized play of light tightly traverses both sheets simultaneously and accentuates the unique properties of each: striated triangulation and crystalline disorder. 

TIME IS A VECTOR

The second work on display, “Untitled 2 (Time Is A Vector)“ unifies these themes in a collection of cast artifacts. Spread across the floor is evidence of the shattering of a large spherical object, whose exterior surface is faceted with the identical triangulated pattern found prior in sheet form. The jagged fractures are bathed in the soft glow of the video projection—highlighting what would have been the object’s concealed interior.


While in both works geometric repetition stands in stark contrast to jagged irregularity, there is a suggested causality. In the first case the dual surfaces are two points along a continuum, with an implied trajectory moving from order to entropy. In the second the contrasting order and disorder is the result of a specific and sudden event. The viewer is left to contemplate as to whether both representations could in fact denote one and the same event, but seen from differing temporal perspectives.