Mar 17, 2012
Click on the image to read our interview on TreeHugger!
seen from United States
seen from China
seen from Bangladesh
seen from United States
seen from Italy
seen from Canada
seen from Netherlands
seen from Germany
seen from Türkiye
seen from Australia
seen from Australia
seen from United States
seen from United States
seen from China
seen from Indonesia
seen from Canada
seen from Malaysia
seen from Türkiye
seen from China
seen from Yemen
Click on the image to read our interview on TreeHugger!
Thanks to everyone who visited the show! It was a pleasure to meet and we hope that you enjoyed our installation!
A collaborative project with BRUNO BILLIO and SAM MOGELONSKY for Room 209 during "Come Up to My Room 2012" at the Gladstone Hotel, Toronto. BILLIO and MOGELONSKY love all things that shine and spin. By using this mutual interest as a starting point, they have created an installation where two independently shiny and spinning objects are reflected and repeated indefinitely within a space.
30,000 paperclips later, we wish our boxes had been 25 cents a piece.
an apparatus for bending light
The paintings of Edward Hopper- the dramatized image of travellers embedded in the lobby or room of a hotel, set into a spatial context that is foreign or alien- are the resonant narrative in this proposal for CUTMR 2012
To visit a hotel is to step outside of everyday life. It is an opportunity to try on a new identity, to temporarily abandon the mundane actualities and annoyances that dog our existence. For just a night you are permitted to be 'elsewhere'- to be someone glamorous, someone beautiful, someone funny, someone sleazy. Seen in this light, a hotel is a public stage, a tableau vivant. The hotel represents a space of dual perception, to see and be seen.
The hotel is a diorama of particular worlds at particular moments.
Similar to a protracted set of binoculars 'the refraction machine' seeks to highlight and illuminate this curious staging. Providing a physical mechanism to calibrate the invisible vectored relationship between seeing and being seen, the attempt is made to parallel the voyeuristic delight in simply looking while simultaneously attenuating one's awareness of just how far the act of performance extends.