In retrospect, the work was a transition for me, albeit an important one, to large-scale photo-based installation work. The photographs were then mounted-stained glass window style-in the windows of the granary. I took a series of photographs of burning wooden grids with their cross-like iconography and subsequently printed these on treated paper from Velke Losiny, a town known for its hand-made paper and baroque era witch trials-the latter roughly contemporaneous with the Baroque reconstruction of the Plasy monastery. Since my work is site-specific, I turned to the baroque abbey for context. The unrealized question was how to elicit the somatic response that immersive installation art can generate using a medium typically used representationally. "I came to Plasy to do a series of experiments, seeking a way to bridge the gap between photography and installation.
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