As the Glowing Orb
Art Bash 2011 Exhibition Piece, Betty Rhymer Gallery SAIC
poplar, nylon, metal, plexiglass, ink
Jean-Paul Sartre wrote in his novel Nausea that a memory fades each time it is recalled, until it can no longer be thought of. A memory is never as clear as the day it was encoded, but never the less a blank image is still an image to cling to. This is where the pulley system is embodied, to work as the mechanical mind and sights already seen. There are four frames, four because of the dimensional continuations of the number; in each frame is a single image – the same image. The image, in black and white, fades to a clean glass box as the frames conclude. This represents the memory, and image was chosen to represent a nostalgic sense of intimacy that no one really understands, except for the photographer. However, the close proximity of the viewer to the image creates a sense of relation. Each image is rigged to a pulley, which by use of one of the four rings on the brim of the table, will rise to come out of the stacks. This represents the recall, and allowing one picture to be grasped for longer than another and slowly vary depending on the attachment of the audience. The table itself is constructed as minimalistic as possible, to not take away from the memory. However, the table is rough and slightly unfinished to mimic the immature mind that holds the memory, slightly deconstructed and yet fully functioning. The screws are visible, as are the inner workings to the brain, if observed correctly. Finally, the light fixture attached at the back of the sculpture is used to highlight the image being witnessed. Unnoticed, though, is the side effect that the viewer is also blinded as they view into the memories, almost as if each image is singed away slowly and unable to be recalled.
As the Glowing Orb
Art Bash 2011 Exhibition Piece, Betty Rhymer Gallery SAIC
poplar, nylon, metal, plexiglass, ink
Jean-Paul Sartre wrote in his novel Nausea that a memory fades each time it is recalled, until it can no longer be thought of. A memory is never as clear as the day it was encoded, but never the less a blank image is still an image to cling to. This is where the pulley system is embodied, to work as the mechanical mind and sights already seen. There are four frames, four because of the dimensional continuations of the number; in each frame is a single image – the same image. The image, in black and white, fades to a clean glass box as the frames conclude. This represents the memory, and image was chosen to represent a nostalgic sense of intimacy that no one really understands, except for the photographer. However, the close proximity of the viewer to the image creates a sense of relation. Each image is rigged to a pulley, which by use of one of the four rings on the brim of the table, will rise to come out of the stacks. This represents the recall, and allowing one picture to be grasped for longer than another and slowly vary depending on the attachment of the audience. The table itself is constructed as minimalistic as possible, to not take away from the memory. However, the table is rough and slightly unfinished to mimic the immature mind that holds the memory, slightly deconstructed and yet fully functioning. The screws are visible, as are the inner workings to the brain, if observed correctly. Finally, the light fixture attached at the back of the sculpture is used to highlight the image being witnessed. Unnoticed, though, is the side effect that the viewer is also blinded as they view into the memories, almost as if each image is singed away slowly and unable to be recalled.