I AM YOUR LABYRINTH
Soho20 Chelsea Gallery 2015
A multidimensional installation in which i use mythological figures and references in advancing my investigations of contemporary perception involving site, specificity, presence of the viewer, and notions of movement and experience as integral components of the work.
Text
Soho20 Chelsea Gallery 2015
A multidimensional installation in which i use mythological figures and references in advancing my investigations of contemporary perception involving site, specificity, presence of the viewer, and notions of movement and experience as integral components of the work.
Text
[3:2]
Soho20 Chelsea Gallery 2009
See Me Gallery 2012
Painting installation using thermochromic pigment which allows the work to be perceived as monochrome or image depending on the temperature of the room and the proximity of the viewer.
Text
Soho20 Chelsea Gallery 2009
See Me Gallery 2012
Painting installation using thermochromic pigment which allows the work to be perceived as monochrome or image depending on the temperature of the room and the proximity of the viewer.
Text
Mise en [S]cène, (the Last Supper Untitled)
Soho20 Chelsea Gallery 2007
Turku Cathedral (Finland) 2011
The inferred meaning of the title, “mise en [s]cène”: the act of stage setting, or more pertinently: the surrounding of an event, with a bracketed “s”, is a virtual gloss laid on Leonardo Da Vinci’s La Cène (French) more commonly known in English as The Last Supper.
Nearly the same size as the original mural in the refectory of Santa Maria delle Grazie, Milan, the work consists of six suspended boxed panels washed in white gesso on projecting steel brackets attached to a wall built to counter act the weight and serve as a backdrop.
The connection to the Last Supper is immediately evident by the cutout on the panels leaving the contour of the narrative in place, the work is hence summoned in absentia. The life size contour of the humanoids at eye level together with the resulting shadow cast on the wall is a vacancy that is simultaneously occupied by the actual and the fictive, the real presence of the spectator and the story of the narrative.
A table is placed in front of the work with a canvas on which visitors are free to draw and write with the provided oil sticks. Placed at the protagonist’s position is a casing with an ip camera, while the inverted pair of gloves attached to the casing alludes to Christ’s hands, they allow visitors to move the camera, a view from the work out which is transmitted in real time on the internet.
Soho20 Chelsea Gallery 2007
Turku Cathedral (Finland) 2011
The inferred meaning of the title, “mise en [s]cène”: the act of stage setting, or more pertinently: the surrounding of an event, with a bracketed “s”, is a virtual gloss laid on Leonardo Da Vinci’s La Cène (French) more commonly known in English as The Last Supper.
Nearly the same size as the original mural in the refectory of Santa Maria delle Grazie, Milan, the work consists of six suspended boxed panels washed in white gesso on projecting steel brackets attached to a wall built to counter act the weight and serve as a backdrop.
The connection to the Last Supper is immediately evident by the cutout on the panels leaving the contour of the narrative in place, the work is hence summoned in absentia. The life size contour of the humanoids at eye level together with the resulting shadow cast on the wall is a vacancy that is simultaneously occupied by the actual and the fictive, the real presence of the spectator and the story of the narrative.
A table is placed in front of the work with a canvas on which visitors are free to draw and write with the provided oil sticks. Placed at the protagonist’s position is a casing with an ip camera, while the inverted pair of gloves attached to the casing alludes to Christ’s hands, they allow visitors to move the camera, a view from the work out which is transmitted in real time on the internet.